Vol.

l: Compiling Characters
Chapter 1 Drawing the Face
Chapter 2 How to Draw Bodies
Chapter 3 Drawing Characters
ISBN4-7661-1473-6

Vol.2: Compiling Techniques

Chapter 1 Background Management Basics
Chapter 2 Tone Techniques
Chapter 3 Expressing Light and Shadow s
ISBN4-7661-1474-4

Vol.3: Compiling Application and Practice

Chapter 1 How to Draw Interiors and Exteriors
Chapter 2 How to Draw Machines
Chapter 3 How to Create a Short Story MANGA
ISBN4-7661-1475-2

Vol . 4: Dressing Your Characters in

Casual Wear
Chapter 1 Underwear and T-sh irts
Chapter 2 Sweatsh irt s and Skirts
Chapter3Jacketsan dJeans
ISBN4-7661-1477-9

Special: Colored Original Drawing

(Copic Sketch Pen)
Chapter 1 Copic Sketch Pe n
Chapter 2 Copic Airbrush in g System
Chapter 3 Try Using Diffe rent Pa inting Materials wit h Markers
ISBN4-7661-14 79-5

Vol. S: Developing Shoujo Manga

Techniques
Chapter 1 How to Draw Characters
Chapter 2 How to Draw Backgrounds
Chapter 3 How to Create Stories
Chapter 4 How to Create Manga
Manuscripts
ISBN4-7661 -1476-0

HOVTODPAW Vol. 6: Martial Arts & Combat Sports

~ ~WAITS6
Chapter 1 Judo
Chapter 2 Karate
BATSPOm

Chapter 3 Kendo
Chapter 4 Boxing
Chapter 5 Street Battles
ISBN4- 766 1-1478-7

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 Vol. 2
Penning Characters
, ORE HOW TO DRAW MANGA Vol. 2: Penning Characters
'f Go Office

Copyright © 2002 Go Office

Copyright© 2002 Graphic-sha Publishing Co., Ltd.

is book was first designed and published by Graphic-sha Publishing Co., Ltd . in Japan in 2002.
· English edition was published by Graphic-sha Publishing Co., Ltd. in Japan in 2004.

• 'lork and Production: Kazuaki Morita, Yumiko Deguchi, Hiroko Shioda, Ushio, Takehiko Matsumoto,
Hikaru Hagi Gekko, Akira Gokita, Kozue Onishi , Haruto, Hitoshi Sato, BeE,
Kento Shimazaki, Rio Yagizawa
Production Assistant: Takumi Takahashi , Kozue Onishi
oduction Support: Julie Asakura
Co er Artwork: Kazuaki Morita
~ glish Main Title Logo Design: Hideyuki Amemura
Co position and Text: Hikaru Hayashi , Rio Yagizawa (Go Office)
e'erence Photography: Yasuo lmai
English Edition Layout: Shinichi lshioka
E.'Ji]lish Translation Management: Lingua franca, Inc. ([email protected])
~ ing Editor: Motofumi Nakanishi (Graphic-sha Publishing Co., Ltd.)
dgn Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)

reserved. No part of this publication may be reproduced or used in any form or by any means
- ;- ·c. electronic, or mechanical, including photocopying, recording, taping, or information storage
~= 'E ·eva! systems - without written permission of the publisher.

- _ _:_:-J)I.
~ 4.! ications Trading Co., Ltd.
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March 2004
 Vol. 2
Penning Characters
- I

I
I I i
 Table of Contents

Chapter 1
Pen Fundamentals ..........................................................................7
The Key Ingredient to Manga and Illustrations is Inking ............................. 8
Inking Tools and Materials .......................................................................10
How to Ink ..............................................................................................12
Inking Theory: Common Lines............................... .. .................. 14

Chapter 2
Making Characters Distinctive ....... / - -='"-
................... 21
5 Basic Faces ........................................... .
1. 3/4 View ........................................... .
2. Front View......................................... '
3. Side View ...................................... .
4. Moderate High Angle .......................... ..
..-------- 5. Moderate Low Angle .......................... ..
Changes in Eye Shape for Each of the 5

u\ Back of the Head ................................ .

The Eyes are the Face's Key Feature.
Maintaining Variety in the
.. .... 42
...44
.. .44
Distinguishing Different Eye Types .................... ..
Distinguishing Ages .............................................................................49
Male vs. Female Faces ............................................................................52
Pointers in Drawing Cute Female Characters ........................................... 54
Creating Adult Faces ...............................................................................55
The Basics of the Human Figure .............................................................60
Inking the Figure: Using the Different Lines Appropriately ............................ 62
Creating a Sense of Volume: Shading ........................................................64
Distinguishing Female Body Types ............................................................70
Distinguishing Male and Female Figures ....................................................74
Features to Modify When Drawing Different Male Builds .............................. 76
Drawing Hands and Feet .........................................................................78
Hands ................................................................................................... 78
Feet ......................................................................................................81
Waking Up ..............................................................................................84
The 3 Key Elements in a Character Waking ................................................ 84
Sample: A Jolting Wake-up ......................................................................88
Chapter 3
Facial Expressions ........................................................................89
Drawing Any Expression Imaginable ........................................................90
Mouth Movements: Depicting Basic Vowel Sounds .................................. 92
Theatrical Eyes .......................................... ..... .............. .......................... 96
Combining Features to Express Emotions ... .. ... ....... ........... .................... 100
Symbolic Representation of Emotion .. ... .... ...... .... .. ................................ 104
Using the Mouth to Show Emotion .. .... .. ................................................ 11 0
Chibi (Super-deformed) Characters and Vowel Sounds .... .......................... 114

Chapter 4
Manga Miscellaneous ........... .................................................... 115
Creating Key Images and Character Entrance Scenes ...... ...... .... ........... 116
Vehicles and Figures: Driving Scenes .... .. .......... ......... ........................... 118
Suggesting Movement Using a Single Panel: Glancing Back .................. 120
Penning Techniques That Create Depth ................................................. 122
Making Corrections ...............................................................................125

5
e Basic Manga-drawing Process: From Beginning to End

G) Rough sketch: Set the composition

at this point.

chups using white correction

"'- · . c. o.e.clean up the drawing.)
@ The finishing touches: Add special effect
lines and screen tone.
 Chapter 1
Pen Fundamentals
The Key Ingredient to Manga and .
Illustrations is Inking.
Finish using ink only The clear, distinct black strokes of a pen
(Realism manga style) breathe life into penciled drawings.

A grada ·on effect is created

usi g eami (crosshatching).

The above was created using only

various forms of hatching and solid
blacks. This use of ink allowed me
to create a soft overall look, while
a ching suggests flesh . Uniform , parallel, ruled lines projecting an intense atmosphere.
create a shading, almost
silhouette-like effect.
 --='N this version anticipating that I would use only various I drew this version anticipating that I would use screen tone for the
~ of hatching and solid blacks for the final image. I rendered final image. With the exception of the final panel, where perspective is
~- s.... jects using powerful, heavy, modulated lines for silhouette stressed, the overall page is rendered primarily using fine, even lines.
_ Jagged sound effect lettering allows for the creation of an Since the final image will have a lighter feel , I used more simplified
--=-- p mood. style of sound effect lettering.

Realism-manga version:
Here, I used hatching in the
pupils and irises as well. The
diagonal strokes used in the
cheeks were carefully

Screen tone version:

I used fine, uniform
lines, giving the
-:""='- - eversion: 1filled in the pupils composition a clean,
-; - ·d black and then attached
light look.
one. The diagonal strokes
e cheeks are less concentrated
9
in the realism-manga version.
 ·ng Tools
and Materials

Pens

IJ
l ..J!-;:---
Penholder mouth
(Spring loaded)
t>
The nib inserts into
the penholder.

Pen nib
(Kabura-pen) Change nibs:
• when the nib becomes worn down.
• when the tips start to spread.

Penholders
Penholder mouth
(Available in wood and plastic)
(Plastic) Nibs become worn as they are
used. Once your old nib tips
Many artists feel that wooden become permanently spread, and
penholders are less tiring on the hand. you are no longer able to draw a
crisp line, replace the old with a
new nib. When inking characters,
switch nibs about every 2 to 4
Black ink, drafting ink, and India ink are those primarily used.
Ink If the ink becomes gummy, add water.
sheets in the case of B4-sized
paper (25.7 X 36.2 em or approx.
10" X 141 /4").
The advantage of
drafting ink is that
While India ink does take
it dries quickly.
longer to dry than drafting
ink, it gives a "blacker"
finish .

Black or drafting ink India Ink

• B4 is the standard size for publication

Paper submissions.
• Top quality paper (11 0 kg to 135 kg per
1000 sheets or 121 lbs to 148.5 lbs per
ream) or Kent paper is used.
• Manga drawing paper with predrawn
margin lines, which are available on the
market, may also be used.
• Use paper of a size that will allow a margin
around the entire drawing.

Note: since the manga process involves penciling

an under drawing, inking, attaching tone, and other
work, most artists use large, durable paper.
Pen Nibs The 3 Most Common Nibs: The Kabura-pen, the G-pen, and the Maru-pen

For those with a light touch: The G-pen nib is flexible,

making it somewhat
difficult to control.

9
However, it is capable of
producing fine as well
as thick strokes,
allowing you to
modulate your lines.
For those with a heavy hand: G-Pen

Kabura-pen
- -· nib draws primarily
=--er lines and allows
=:-modulated lines.

• For artists who have a light

touch when using
mechanical or regular pencils
• For those who do great clean
up work with the eraser, not
leaving a single extra mark

:'"":;a!< their mechanical or

_g lar pencil points For the technicians
• ::.:- those who tend to
sc e lines even after
:: = ing it up with the
~r

Maru-pen
This nib allows you to
create thicker lines than
with the G-pen and finer
lines than with the
kabura-pen.

- -- -.aru -pen comes with its own • For those who regularly
- .:-::: penholder. Holders of some distinguish between values It is difficult to draw long
_-:acturers cannot be used with when drawing with a lines with this nib.
of others, so be careful to mechanical or regular pencil However, this is a suitable
_ - • rand names when nib for those who build up
(i.e. those skilled in controlling
contour lines using
the pressure applied to the pen) multiple short strokes.
 to Ink ) ote that the pen is held differently trom when writing.

Figure drawn with

the pen held at an
angle close to the

Good

Not good

In this figure, the nib caught

onto the paper, resulting in
clumsy-looking strokes.
_- er drawing Normally, artiststhstaert 'WI'th the face contours
and wo rk from er ·

i 1_
'; - - - - - - : ••
\ .. Per to· .Its original position
Return. the tl
kingpathe shou lders . Constan Y
when m to the most
rotate the pape\on when inking. An
comfortable posl I entire drawing
. t arely inks an
art1s r moving
without . the paper.

13
: lnkin g Theory: Common Lines)
D The Basics: Even and Tapered Lines
• Tapered Line

• Even Line

Using both lines with

,"\ r
sharply tapered ends and
blunt, uniform ends allows

~~? for a composition-with

balance.

Figure Drawn Entirely with Tapered Lines Figure Drawn Entirely with Even Lines

Not good Not good

monotonous.
 · Tapered and Even Lines: Drawing Nudes Tapered lines are key to giving the flesh volume.

)
A sense of volume is lacking in figures
drawn only in even strokes.

ing Tapered Lines

2. Building up a line using multiple strokes

t
\ Adjust the lines so that
the ends taper.

15
f) · g Heavy and Fine Lines (Balancing Heavy and Light Areas)
Make contour and silhouette lines
heavier than those in the interior.

.....,.,_~_,...,.-,. Balance your

line usage
even in small
compositions.

These lines are finer

than the contour line.

\\

/
orted Uses of Heavy and Fine Lines

Here, .a G-pen was used

/
allo
of li~~n~ fodr ful! exploitation

"''''"· The
d G-p en allows you to
raw graceful, sinuous lines.

I ~his is a delicate
figure rendered
entirely using fin
l1nes. e

Use even finer lines

for parts visible from
underneath see-
through fabrics, etc.

17
 a ·ng Lines: Building up Lines to Produce a Satisfying Composition
. 3 ilding up those areas requiring heavier lines after first doing an even inking
Inking is not something that has to be done in one fell swoop.
Once you have done a simple first inking of the entire
composition, go over it again , creating a balance between
heavy and fine lines and gradually building up contours and
silhouette lines using many short strokes.

Build up contour and

silhouette lines in the face
and figure as well as crease
lines and lines distinguishing
body parts. Finished drawing
 This technique involves using the pen in much the same manner as
you would the pencil. It is effective when the final is to be a reduction
- · Building up lines right from the start of the original (reducing drawings causes the individual strokes to
come closer together, making the execution appear smoother).

-~ drawing

Completed drawing
(reduced size): The
drawing appears to
have been rendered
Pen hatching using single, long
diagram (Enlarged) strokes.

--- scale: Here,

- c 1 ered strokes

\
: o;: ewhat
; t.

\
19
 Hatching basically consists of short, tapered lines drawn freehand .
astenng Hatching, Etc.
Longer versions become diagonal lines. Hatching adds spice to the inking
job and is a finishing technique used in artwork.
These strokes
are a standard
technique artists
use to suggest
"blond hair."

The addition of
these diagonal lines
•
suggest a blush to
the cheek and help
give the figure
volume.

Completed inking of contour, silhouette,

and other major lines

Drawing Tapered Lines

Diagonal lines drawn
with a downward stroke
(Neck shadows, etc.)

Diagonal lines drawn with an

Diagonal lines are drawn in a l upward stroke [Suggesting
1rection perpendicular to that of volume in the chest (flesh), etc.]
· e nib. Avoid pressing down on
e pen. Use light, rapid strokes.

Pra ctical Application of Hatching

and Diagonal Lines
-...ese are used for shading. The key
· • ocus on evoking volume in the
=-g e and o draw strokes in the
o· the figure 's "curves."

Densely packed
hatching is suited to
suggesting masculine
figures.
 Chapter 2
aking Characters Distinctive
 5 Basic Faces
5 Common Faces Used for Close-ups
'

1. Face Turned to the Right (3/4 View) 2. Front View

.! , ·- ,• ~ d front view are primarily used when the

· or her appearance on the scene or
o show the character's face.
 ~\
tJ ; . .

)\ /

. Side View 4. Moderate High Angl 5. Moderate Low Angle

:=en used for characters when Primarily used in dialogue scenes
:- -eaking alone or engaged in
- versation

..... ~,,--:-
\

This view is effective

when intending to give
movement or variety to
the composition, or give
a character's depiction
impact.

The main differences between this

view and the standard 3/4 view and
the points that you, the artist, must
show the most care are the extent to
which the crown is shown and the
nose's angle.

Standard 3/4 view

23
 Even when not intending to
keep the bridge of the nose in
: . 3/4 View ) the final drawing, including the
Approximately the Slightly larger than the right eye
bridge in the under drawing will
same distance help you balance the eyes.

There should be a gap

between the face's
silhouette line and the
corner of the eye.
The line of the neck should
be drawn so that it would
connect to the bottom of the
inward than the chin. ear if extended.

2 Standard Styles for Rendering the Nose

Not good

Too close together

Take care not to

space the eyes
oo far apart or
oo close together.
Nose rendered using only Nose rendered with the bridge
shadows underneath and the nasion (where the
2- bridge meets the eyes)
 There are standard positions for the torso (i.e. from the neck down)
- · ·oning the Figure with a 3/4 View Head used with each of the 5 head views. Since how the torso and neck
_.: mon poses showing the throat's silhouette line connect depends on in which direction the torso is faced, I have
""_ er inward than the chin compiled a few common samples for you.

Facing front

poses showing the throat's

=-: ~ m on
- ette line directly under the chin

Here, the figure is shown from a

\
-;::- _ e head is drawn so this line
- :dy under the chin, the figure
somewhat high angle, displaying
~ shown from a moderately
volume from the shoulders to the
~- le.
torso.
Facing the side

The neck may appear overly

thick (masculine) when this
line is drawn further out than
the chin .
25
~2. Front View)

Faces with the eyes drawn too far apart or too close
together are often intended to be stylized.

Faces appear most

attractive with the eyes
spaced apart about the
same length as the mouth.

There are faces

stylized so that the
eyebrows span the
· space between the
corner of the eyes
and the face's
There should be space contour.
~ lett between the eyes /
------and the face's outer
contours.
Getting the Best from
the Front View

)
r'

I
 . Views Effective in Manga

I
I

~t ""
I

~
-.l--
i
!
I
~ contour is not perfectly
- _ I, but shows the face
~- the right. Alternatively,
The nose should also be drawn facing either
show the face turning
right or left with the head.

:ed Noses for Front Views

Nose with shadows Nose with shadows Nose with shadows

underneath under one side on the side

Girths

1/2 the head's width 1/3 the head's width 2/3 the head's width
Appropriate for female characters Appropriate for stylized, Appropriate for realistic characters
manga-esque characters and characters with naturally thick
necks (i.e. male characters)
27
· ·oning the Figure with a Front View Head A frontal view of the face allows the character to connect
strongly with the reader. It is often used with the full figure.
 Raising the
shoulders
causes the
chest to rise
as well.

Normal stance Shoulders raised

-~ - ulders' and clavicles' contours

_ :;II as the chest's shape take on
-c:--ent appearances in high angles
-en the figure is lying on its
-ch. Close-up of the upper body

29
 ·ca1 Ap plication Sample

Sketch to check shading balance

Penned drawing

Under drawing
Final image

31
~ 3. Side View)

Note the distance between the eye and ear.

~ :~ Not good
~~~"'\

Too close Too far apart

Common Pitfalls When Drawing Side Views

and Counter Strategies
Tue care When dra

The chin is too jutted.

The head is too stunted. The head is too wide.

0 0 0
0
G-ood

""t
D

:2
\ The chin should have a
gentle curve.
· ni ng the Figure with a Side View Head

Figures drawn at a low or high

angle are rarely paired with
side view heads.

\ I
H 33
~4 oderate High Angle)
Regular side view

Axis

The ear
Moderate
high angle

__ The jaw
......,...;;:;,~

beneath
the mouth
When drawing a head at a moderately
becomes
high angle, lower the level of the eye
narrow.
and shift the face's axis further away
from the centerline in order to distinguish
this angle from a regular side view.
Furthermore, the top half of the head
(the hair) should occupy a larger portion
of the whole.

Nose drawn with a bridge Nose drawn without a bridge

:;.-
Pose where the
neck is at an angle
Pose where the
neck is straight

35
 m at moderately
- :::- c.--; es are great for
__ - , -:; " e back faces
 oderate Low Angle) Regular angle Moderate high angle
)

The axis is
positioned about The top half of the
the same as in a head occupies a
face drawn at a smaller portion of
moderately high the whole.
ang le.

The guideline for

the eyes becomes
an upward
curving line.

The neck can

easily be drawn
too thick, so take
extra care.

1. upward
= fines are used
- __ e upper
~ sr eyelids.

Nose drawn with a bridge

1ing the ear's
- ·ng.
Nose drawn without a bridge
37
 ecting the Neck and the Torso

The entire figure drawn from a low angle

Retaining the head in an "upward

looking " position, but tilting the
neck affects the length of the
neck's silhouette line.

\J
 Comparison of Neck Contour Lines

Note that while the figure's

pose is the same for all of
these figures, the neck's
contour lines change according
to which direction the head
faces (i.e. how the neck and
figure connects changes).
~Ch anges in Eye Shape for Each of the 5 Views)

Front View Side View

Standard
Eyes

Upward
Tilted
Eyes

Downward
Tilted
Eyes

.-
 3/4 View Moderate High Angle Moderate Low Angle

41
 Depictions of characters from behind are

Back of the Head essential in manga. If you are able to draw

characters' heads from behind, the possibilities
for dialogue scenes will expand dramatically.

S eletal drawing of the back of the head

Sample Close-ups

If you can draw this area Target area to include in a

successfully, you can panel, trimmed as needed
Given the variety in panel create a dialogue scene.
shapes and margin sizes,
the possibilities
-......~...-T~'"'" compositions are endless.
Assorted Scenes of
Characters Face-to-Face
 x. res in Drawing the Back of the Head: The Ear and Hair Flow

When the bangs have

plenty of volume:
Show the bangs clearly
fluffing outward. Ensure
that you do not give the
back of the head too
much hair.

....
Front View (Ref. Fig.)

::-c=o Ear Is Not Visible

·r has little volume:

- ,. - e not visible, and
_ e hair is long, since
-z volume, it should
ly to the head.
auld have a round
the top of the head

Front View (Ref. Fig.)

With voluminous hair:
• Use the hair's silhouette lines and
flow to suggest clearly that it is in
fact the back of the head.
43
( he Eyes are the Face•s Key Feature. J
( Maintaining Variety in the Characters• Eyes) These 3 beauties all
have completely
different eyes. Desig-
the eyes so that the
particular character

.....
Good
·~
can be recognized
even in a close-up
of just the eyes.

Figu re showing variety in the hairstyle,

face shapes, and clothes
•
•
•• The eyes constitute a major
• stylistic point. Give each
character a distinctive eye
shape.

Close-ups
----
~
..,..,.-,.· ;:
~
....
........

Close-ups of characters with identical eyes

- - _ I 3 have been given \ff~~'t\~ ~~,v~ l~~
~' -~ '8' (.AW\1J
:-E x..- = ':'"1 - causing each
individuality and
nize the
 g Process
ing: Process for Rendering Eyes Using Primarily Hatching

® Under drawing

-~- •lith the upper eyelid. Draw

rves while rotating the
the direction easiest to

2. Draw the upper eyelid. Bu ild 3. Draw the lower eyelid. Since
up strokes, keeping them at a you are using hatching to render
comfortable, not overly long the eye, make sure that the fine
length . contour of the lower eyelid does
not evolve into a single (solid) line.
Use fine, connecting strokes.

:-e outlines of the Since these are light 5. For the hatching inside the iris,
- :-e light reflections, use as fine use curved lines, maintaining an
--- . Take care to
awareness of the iris's curved
a solid line as possible. surface.

7. To fi nish the eyelashes, the key is to

draw shorter lines clustered around a
long, central line. Take care to use
beautiful, tapered lines.

latching to finish off the

:::-: pupil. Build up light and
-~ •. otating the paper in
·on easiest to draw.

When needed, add-----

for white highlights.

45
• g Contour Lines: Process for Rendering Eyes Using Primarily Contour Lines

1. Draw the contour of the upper

eyelid. (The paper often must be
rotated to the direction easiest to
Draw the contour~
so that both ends
come to distinct
1- '-. ;-~'~._
2. Draw the contour
~t
1...:.
· ......-- --

"-r..
Take care to prevent
the contour from
becoming overly
thick. (If the drawing
is small, then you
points of the lower eyelid. may simply use a
draw.)
solid line.)

Use ultra fine lines

for light reflection
outlines. ~

@ - """" --~-~iiii~~
Thekeyto / '
drawing the iris -"'; ~~~!!!!!!!!!!!!S?'
outline is to use The inside of the
a uniform, heavy 3. Draw the iris, pupil, dotted lines denotes
line. and light reflections. the actual pupil.

4. Draw the eyelashes and the inside of

the iris. Xindicates which areas are to Ensure that eac·
be filled with solid black. eyelash ends in
a clear point.

is hatching
g· es the iris a ' Add hatching at both corners of
sense of ""' the eye. This creates the illusion
ndness. that the upper and lower eyelids
are connected.
5. Spotting Blacks and Hatching

If the eyelashes are rendered

solely in solid black and end
6. Finished! with a rough, crude feel, add
White highlights
fine, individual lines separatec
from the main lashes.
 The following pages discuss 5 common eye types:
···nguishing Different Eye Types ) standard eyes, upward tilted eyes, downward tilted
eyes, large, round eyes, and almond-shaped eyes.
Upward Tilted Eyes

The corner of the

eye is lowered.

another.

~- dard Eyes

~ __ rard Tilted Eyes

: _ mward Tilted Eyes

 Round Eyes

Standard eyes Downward tilted eyes

If you find your large, round eyes resemble
standard or downward tilted eyes, use your
ingenuity and adjust as follows:
• Omit drawing the lower eyelid, More large, round eyes
• Make the irises extra dark, or
adjust how you render the eye's interior, etc.

[§] Almond-shaped Eyes

Standard eyes
"' ,_ =-:: r almond-shaped eyes
~-- ~ _,. crd ·tted or standard eyes,
· and adjust by narrowing
More almond-shaped eyes
~--_D_is_t_in_gu_is_h_in_g_A_ge_s_~J
·ng Children Look Childlike

=-- Child with a Mature Face Somewhat Mature Child Ch ild

This face basically has the same shape Here, the face's contour is different and
contour as that of the mature face, but the the facial features ' proportions have been
features have been altered. adjusted.
• The eyelashes were omitted. • The cheeks were made fuller.
• ult's face Child's face • The eyes were enlarged. • The eyes' position was lowered.
• The bridge of the nose was reduced. • The eyes were spaced farther apart.
• The portion taken up by the upper part of
the head was enlarged.

Not good
The presence of eyelashes
To draw a child's face, and small eyes tend to
concentrate all of the facial detract from a childlike
features toward the lower appearance.
half of the face.

Mature face Moderately childlike face Childlike face

49
 nTflr.:.r.:lnces between Adult and Child Faces
Adult's Face Child's Face

Big eyes

The nose should

be kept small
_________ ao~tshort.

Thinnish neck Thickish neck

PosiTion the eyes

igher and make
em smaller than
you would for a
ild's face. (If
ou are using the---
adult's face as
our standard, i
en position the ----:
eyes lower for a : overlapping. Drav,
child character.) the child's featur ·
------from the nose
downward jutting

---:-....-... _....,
out somewhat to
-_- ------ --- 'Qain a "childlike"
neck appearance.
' Short span thick and
relatively straight
and on the narrow- up and down.
side.

The
The upper part of
the head occupies
a lesser portion.
occup :
a grea·
portior ·

t Long
---------------- -- ----

Give the cheeks roundish contours to adult's creat

create a "childlike" look. childlike look
 ishing Youthful and Elderly Faces
The face Give older male
occupies a characters large,
greater portion distinct nose bridges.
of the head in The neck should be

Sf'S in Aging Characters • Reduce the size of the eyes and irises.
• Omit the eyelashes.
• Give the hair less volume.
Not good

not age the character.

ri nkles alone do not make an old person.

I
'L- ~ man's face
st>ndard (slightly Giving the eyes a
_ _-:ted) eyes, thick downward tilt facilitate
and hair, and suggestion of mature or
- :.=- nose and elderly character.
(......___M_al_e_vs_._Fe_m_a_le_F_a_ce_s---JJ
Male and female characters share virtually the
same eye, nose, mouth, and ear positioning.

Female Character

Give the hair a fine

Include the
eyelashes.
Androgynous face
Use curved lines
for the cheeks. ~

Accentuate the
lips' roundness.

The neck is thin .

Male Character

Be conscious of
using thick lines
for the hair.

Draw thick, clearly

deli neated eyebrows.

eep the li ps
simple: just add
a shadow.

"-'--::. is thick.
~ ·ng a Character That Feminine Touch Designing a Character
That Looks Feminine

• Enlarge the eyes. • Accentuate the

• Darken the eyelashes. eyelashes and lips.
• Move the neck contour • Use more detail in
inward, and draw the the hair.
neck long and thin.

g a Guy Look Like More a Guy

Designing a Character
That Looks Masculine

• Reduce the size of the irises. • Use a heavy line for

• Make the neck thicker. the face's contour and
thicken the eyebrows.
• Accentuate the bridge
of the nose.

Male Face Types

Angular, bony facial

contours are not
facial contour can also
usually used with
be applied to a male
female faces.
character's face .
 ointers in Drawing Cute
Female Characters
Not good

Here, the eyes are

small and the bridge
of the nose is preser:

Smallish eyes Standard eyes

2. Omit the bridge of the nose.

Downward tilted eye~

--------

Upward tilted eyes Upward tilted eyes

--
e Accessories and Hairstyles

Round frames
o ames le )
55
(~__C_re_at_in_g_A_du_lt_F_ac_e_s__)
Reduce the
sizes of the

Lengthen the
distance from The face is
the lower lid to moderately
the nose. oval.
Round face
 Clearly
delineate the
bridge of the
nose.

For close-ups,
render the eyes
in detail.

Use fewer lines in small drawings.

57
 Pay attention to ttl:
size of the eyes.

Give the neck more

girth that you would
for a young character.

Rendering the Closing of the Eye and Depicting Eyelashes

Sidelong
glances and
half-closed

Eyelid contotr

~ !e. closed eyes follow At a low angle, the eyes Use the same downward curve for
'e. take on an upward curve. the eyelashes of the upper eyelid
that you would for a closed eye.
e-ups of the Lips

59
 he Basics of the Human Figure
Making Effective Use of Even and Tapered Lines
Use a tapered line for the While the suit jacket is
a ·ng the muscular point where the shoulder roomy, undulations form
·11 allow you to suggest joins the neck, since it owing to protrusions
dness of the male also marks the swell of and recesses in the
the muscle. body, such as the
shoulder blade, waist,
The bony shape of the elbow and elbows.
is discernible. Use both even
and tapered lines when
drawing a male character in
order to achieve a rugged ,
craggy appearance.

a downward, tapered
cutting ever so slightly
,•;ard. This subtle touch
accentuate the figure 's
ular look, generating
~ sense of manliness. In
t, use smooth,
o en lines for a female
- e's contomrs.

ere we see a
,• · -to-hip contour
for a female

Bunching formed by the

loose trouser fabric.
 111e Female Fo

Use a tapered line

where the swell of the
breast begins, since the
breast does constitute a
natural mound of flesh.

0
These diagonal strokes
-=: m see a tapered are not used with
" en strokes used nudes. They appear
Even strokes are used
_ er to suggest the here to suggest the
here to delineate the
- - eated by the bent roundness of the
start of the toes on the
- ~ ~-ne e the folded blouse's shoulder. Use
top of the foot, while
- · concentrated in
tapered strokes are
Nard direction, the
used for the underside.
~ stroke is the main

Use rounded, diagonal

lines to suggest the
bulge of the kneecap
underneath jeans or
snugly fitting pants.

6
 Making the line heavier in strategic locations
will generate a sense of volume and
presence.
·nmrs in Thickening (Darkening) Lines

Inside of the neckband and

gap between the collar and
neck

Cuff

This figure was drawn using a

uniform line thickness. While thif
is acceptable when designing a
character or when producing
Shadow forming
anime genga (drawings of key
as air moves
Deep fold in the blouse action scenes), in the case of
under the cloth
occurs here manga, it makes for an
unimpressive product.
0

Li ne Modulation

When emphasizing
form, use an even
line.

Use a modulated line when

intending to accentuate softness
or a sense of volume.
~

Here, portions of lines have been

modulated by building them up
· _ a di or technical pen.
 high and low angles, use heavier lines
r objects close to the picture plane.

63
~ Creati ng a Sense of Volume: Shading )
"ght Source When emphasizing a sense of volume or presence,
determine the location of the light source and ink.

Use thick, heavy lines

or the side opposite
e light source.

Screen tone finish

Exaggerated shadows

Light Source
u

Screen tone fini

Inked drawing

Hatched drawing

Under drawing

65
·caJ Ap plication: Achieving a Sense of Volume
Using Hatching, Etc.

Use clean lines for

blouse creases.
Use clean , curved
lines for chest

Use the same type

of crease lines for
all angles.
Sweater & Pleated Skirt
Tight T &Jeans

Since this turtleneck

has a snug fit, use
short, diagonal lines
for shading. Use widely
spaced lines for sweaters.

Unlike with the

sweater, use
clean , fine,
diagonal lines for
the T-shirt.

Depending on the angle,

it may be better to omit
shading under the chest
to make this snugly
fitting shirt looks properly 67
like aT-shirt.
· g th e Back Blouse Sweater T-Shirt
Use broad
e and waist are the main
4 ·ng crease formation in
creases and diagonal strokes
ocused primarily on the right or
er blade, depending on the
at the figure faces.

Shoulder
blade

Shadow
indicating the
shape of the
shoulder blade

Raising both shoulders

causes the right and left
shoulder blades to shift
Projecting closer to the spine.
Wearing a snug-fitting
blouse in the same
pose, an inverted Y
would form on back.

Sunken areas

Imagine 2
rhombuses when
drawing the
shoulder blades.
 ing Lines to Reinforce Body Types
c phasizing Curves
• Drawing Slim Figures
c.•" extensive
- of diagonal
~~ an d solid Use as unmodulated
s to lines as possible for
the figure's contours.

-=--e's hills
::::-: alleys.

--e.se diagonal lines

"' .:. ing) on and
emeath the
- emphasize the
- of the breasts.

Use a kabura or
maru-pen.
CD rill\ ~

Drawing the Back

Use a G-pen to
build up lines. Back with Back rendered
in simple lines

69
( Distinguishing Female Body Types )
Average Build Slender Build Athletic Build

Draw the neck on the

short side to evoke ~~~
~.
When drawing the the proper look.
arms and legs,
visualize a long, Muscular shoulders
smooth column.
The limbs are
clearly indented
at the joints.

hy thighs

Slim thighs: Bulging muscles

Visualize a uniform appear in the
column for the legs thighs and calves.
as a whole when
drawing.

Egg Rectangle Inverted triangle

/ --.....·----.....

iff,~\\
(\~~~(!~

\
'j \

~/ ·~I
Draw cherubically
chubby fingers gently
tapering from knuckle
Draw long, slender
fingers.
,1 .

i '
r~· Draw large joints to
generate an angula-
look.
to fing ertip.
The shoulders and hips Give this figure wider
have approximately the shoulders than hips.
same width .
ey Feature in the Side View: The Posterior Take care with thickness of the arms and wrists and the shape
of the calves.
Average Build Slender Build
Structural Diagram Structural Diagram

"'! 'I I'\ 1

'\:~ \_
•)))
i\ .;(
' '

\~
\l

-.·,, ~)

The waist does The shoulder and back Since the shoulders
not taper, and of the posterior can be and chest are
the posterior connected by an almost muscularly developed,
protrudes. perfectly straight line. the posterior ends
further inward.
/
{ Slender

Swell of a gently
curving contour

Feature in the Rear View: The athletic build

--~ Shoulder Blade is muscularly
The back has greater The back on a slender developed. The
amounts of fatty build is on the thin shoulder blade is
tissue in an average side, and the shoulder visible to the point
build. The shoulder blade is clearly where its skeletal
blade juts out slightly. visible.

71
 ishing Breast Sizes
Large Small

The larger the

breast size, the
more the tip of the
breasts will extend
beyond the tip of
the nose.

---= =~ ;-:;.•, are drawn)

- =~ - :::- :~-:,•, direc ·on.
When Wearing a T-Shirt Draw few creases in the clothing for small breasts and deep
creases for large breasts. Use hatching, etc. to distinguish
or average-sized breasts, the chest is moderately accentuated the different sizes.
:; .,;

- small breasts, the chest is rendered in typ ical fashion

:; .,,

:..:, large breasts, the chest is accentuated to the extreme

\L
~ Distinguishing Male and Female Figures )
::i.wden the As men and woman have different skin
ulders of male and skeletal structures, care should be
aracters. The hips taken with the figures' silhouettes.
auld be narrower
than the shoulders. The hips of a
female character
should be as wide
or wider than the
shoulders.

The neck is long

and slender.

While brawny
male characters
The torso of a male figure is
do have beefy
thighs, the thigh thicker than that of a female.
should never have
more girth than The arm is slender and graceful.
the waist.
-t------" The waist is trim and may be drawn
ccentuating the with the same girth as that of the
calf muscles fattest part of the thigh .
creates a robust
k.
Depiction of musculature and skeletal
structure is often omitted from a
female figure 's arms, stomach, knees,
Adding lines to the and legs.
knees to suggest
the kneecap evokes
a rugged appearance.

rawin g the arms thick and

e phasizing musculature will set
a s arp contrast with those of a
'e ale fi gure.

)
y
=~ lines should also be used to draw Here we have a poorly drawn sample, where
~ =and female figures. Use finer lines, Not good not only the lines, but also the shoulder
g less pressure to the pen when blade and the posterior are handled in the
g female fi gures. manner of a male figure .

Here we have a well-drawn sample, where the lines are

flowing and the parts of the back (i.e. the shoulder blades,
spine, and posterior) have been handled differently from
that of a male figure.

Use a crescent
shadow for giving
volume to a fem ale

75
~ Features to Modify When Drawing Different Male Builds )

Adjusting the Neck's Thickness and Length

G) The neck's girth

@ The shoulders' breadth

@ The torso's thickness

This figure features a long and Despite that the shoulders of this
slender neck, creating the look figure are the same, the thicker
@ The arms' of a style-conscious type male and shorter neck suggests a
and legs' girth character. rugged , muscular character.
Adjusting the Neck and Shoulder Width

Here, we see narrow shoulders Average build Here we see a broad shoulderec
and a slender neck, suited toward build. Top the shoulders with a
adolescent boys and young men short neck.
with slender builds. This expanse
suggests the
thickness of the

justing the Torso's Thickness:

Suggesting a Muscular Build

Broaden the
shoulders.

e Accentuate the
muscles in the
shoulders and
beef up the

The curved line extending

from the underarm to the
waist is a key point.
 inguishing Average Builds from Muscular Builds The key points in distinguishing
an average build from a brawny
build lie in the neck, the chest,
and the arms.

Drawing the arm on a brawny

build at about 1.5 times that of
an average-build character will
establish a clear distinction.

This contour
suggests a
well-developed
chest.

Flank muscles
The addition of this line
indicating the bottom of the
Avoid drawing abundant ribcage gives the abdomen
muscle contours on the a taut appearance.
abdomen of an average-
build character: keep it
simple.

The chest takes on

a convex curve.

Muscular Build

This fi gure shows

-=r:ered the the muscles of
the abdomen
accentuated .

77
( Drawing Hands and Feet .J
( Hands )

Man Old Man Woman Child

Man Old Man Woman Child

\
\ \ r

Child

Man Old Man Woman Old Woman

Unes Used on the Back A man's hand has a rugged, knobby
of the Hand appearance. Depicting the skeletal
and muscular structure will elicit a
3-dimensional feel.

- an's Hand Draw long, tapered nails.

These lines are drawn the same as The knuckles are minimized.
those on a man's hand-from almost
he knuckles' centers. However, the
protrusion of the joint is downplayed.
These curved strokes are kept short
I
and delicate.

79
Gestures and Poses
 Tendons lying underneath the
:.____F_e_et_____..) skin cause lines to form on top
of the foot.
·nes Appearing on the Top of the Foot
Tendons are included when

) intending to give a foot that

masculine, rugged look.

The tendons extend

from the joints'

\r
centers.
Tendons become prominen
when applying pressure to
\ I the foot or raising a toe .
I I
I I I
I I I I
''
\
I I I I
\ I I I
\ I I I
' \
\ \ I
,,
\
II I

' '<

Relaxed pose With the toes raised

- -a tendons are usually visible even when the foot is in a

o- :>xed state. However, the tendons may be omitted when
::-::wing the foot in a relaxed state in order to render more
="""ctively (i.e. distinguish from) those times when the toes
:. " raised or pressure is applied to the foot.
81
scuJine Feet

Draw the foot first and

then the shoe on top.

/
Note that the toe of high-
heeled shoes is different
from that of an actual foot.

When drawing flat-heeled

or athletic shoes, start with
the outline, drawing it as if
enveloping the foot.

83
 Waking Up
Showing Characters Moving (Scene Des1gn and Portrayal)

The 3 key Elemants

Scenes of a character waking
in a Character Walking are among the most common in manga.

The character
asleep.

The eyes open.

The character

The first page of a manga will often include an

establishing panel showing the sun rising as its
initial panel, indicating that the scene takes place
at dawn or in the morning.
Notes
• Shifting angles and movements are also
included in these key elements.
• Facial expressions and body language help
illustrate the character's personality.

aracter Asleep. 2. The Eyes Open. 3. The Character Rises.

• --: s.:-: 'expression does she • Does she wake up immediately? • Is she reluctant to get out of bed?
Or, is she groggy and grumpy? • Is she cheerful and alert?
• In which direction does she sleep? • Does she hop out of bed?
• Under what circumstances does she • Contrast the character's appearance
awaken? What is her personality? waking with her appearance sleeping.
These points tie into the next element, These allow you to portray the character's
:.- where the character rises. personality.
 In most cases, manga artists have no leeway in allocating scenes of a
- mpositional Samples character waking to a significant number of pages. Such scenes function
a Character Waking as an introductory scene for the protagonist or an incident within the story
portraying the personality or private life of the protagonist. Scenes like
these do not usually extend beyond one page.
A Leisurely
Wake-up
Here we have a
peaceful, everyday
scene. The first two
panels may be
condensed into one
by omitting the first
panel, which
portrays "sunlight"
or "the sky" and
combining it with the
second panel to
show sunlight falling
on the character.

;~ e with the Sleeping Figure Emphasized

· s1 emphasizing the sleeping figure, the scene is
~ ly drawn up to the character opening her eyes,
B the panel of her rising is omitted.

I'm Late!
Scenes like this are primarily used to portray
the character waking in a flurry. This is a
popular form of portrayal, usually based on
the concept that the character overslept.

Slowly Unfolding Scene

Scenes like this may take up 2 or more pages.
The first scene shows the character asleep and
then her eyes opening. The second page
shows her rising. This approach is used with
full -length manga or where "the morning" or
"waking " constitutes a major plot development
for the story.

85
 You are not required to show the entire figure when drawing a character sleeping. In fact,
g it may be more effective not to. Please note, however, that when cropping a figure, draw
the portions not visible, beyond the panel's borders as well to ensure the figure is
drawn correctly.

line may
mark the grounc
or floor line, or
even the edge
of the bed.

-~~~------------------------------------~----

-
 ses: Rising

--ese are the basic actions in rising.

 Sample: A Jolting Wake-up
..... \ I
 Chapter 3
Facial Expressions
 awing Any Expression
agI.nab Ie Fac1al
Usi~g the Eye~rows to Portray
Expressions

~
Portraying facial expressions by
anipulating the Eyebrows ) manipulating solely the eyebrows: Good

When the eyebrows are left the same, and

the other facial features are manipulated: Not good

CQ)88@
 ing the Eyebrows to Portray Emotion: "Joy, anger, pity, and pleasure" are generally regar~ed in Japan as
- y/Pieasure Anger, Sorrow/Pity, Surpnse the 4 basic emotions. However, there is not much difference between
,.JOY " and "pleasure" when rendered. visually.
, Consequently,
· , I tacked
on the much-used-in-manga emotion of surpnse.

0 ...
J(() t) .·
~~

91
 Mouth Movements:
Depicting Basic Vowel Sounds
, e 'allowing are the most common shapes taken by the mouth when expressing a
aracter's emotional state. They are essential to portraying a character full of life.

3/4 View Front View Side View

: Rendering the Mouth•s Interior )
Upper lip

Top row of
teeth
Upper jaw
(Maxillae)

Throat
This figure
shows the outline
Tongue of the lips.
Portions of the
Bottom row teeth and the
of teeth mouth's
~
interior are
Lower lip covered
by flesh.

orted Manga-esque Expressions

If the skin were
removed to reveal the
entire mouth, it would
look something like
Here, the mouth has this.
been rendered solely
as an outline. The
teeth and tongue have
been omitted.
, en showing the
- uth just barely
n, draw only the
: ine of the lips.

Top teeth only Tongue only Top teeth and tongue

Corners of upper lip turned up Bottom teeth slightly revealed Realistic mouth: Top and
bottom teeth and tongue

- e mouth opens by the Screen tone finish (Gradation tone) Screen tone finish (Dot tone)
Speed lines are frequently used
:.'ler jaw dropping. The
when drawing a character yelling.
__per jaw does not move. 93
Close-ups of the Mouth There are occasions when drawing some of the inside
of the mouth is effective in character close-ups.

Face with mouth

slightly open

Face with mouth

open wider

~
(

ce with mouth
,., · e open
Revealing the Teeth:
Exaggeration through Realistic Portrayal
Here we see a relatively nonstylized,
realistic portrayal. The teeth are
rendered as a solid row rather than
individually.

To shout, the mouth opens widely,

exposing the bottom teeth and tongue.
Use simple lines to render them .

Here we see another shouting

mouth. A large expanse of the

®
lower jaw is visible.
When the mouth
is wide open, the
inside flesh of the
The canines cheek swells.

®
- = e, a center line has been added to the
-,gue, heightening the realism . Since the
The key is to leave a small space between the
contour for the molars and that for the front row
of teeth. This will also give the molars their
distinctive thickness.

- uth is wide open, the canines are

ible. The canines are often exaggerated
en drawing vampires and demons.
Here the mouth is open to the extent possible in
a full-throttle yell. The upper jaw, which is in
fact stable, appears as if it could move, causing
wrinkles to form at the sides of the nose, on the
cheeks, and under the eyes. Furrows develop on
the brow.

Mouth with molars Here we see a mouth open in full

given thickness shout with the front teeth, the
canines, and the molars faithfully
rendered . The tongue has been
abstracted and diagonal strokes
used for the throat's dark interior,
resulting in a powerful image.

95
 Theatrical EyeS
~0~~
. ··~ · ········ ·· ~: ............ ~;·~- ................ ~ ...... ..

Standard eye The upper and Normally, when the eye When the eye is squeezed
lower eyelids move is closed, the eyelashes shut, the eyelashes take on an
both up and down. form a downward curve . upward curve, and creases
-=-:---:---:-:---::-:-----::-:-:---=--~--:-:---::---:-----:-- form around the eye.
(Changing the Size of the Eyes for Emotion Portrayal)

Manga-style facial
expression
 Dramatic Portrayals: Mouth and Eye
Combinations
I {/ #~ } J~
~ ~ / ~ ff~
~ ~ ~

}.. 1-
-- I

~-···~~ · · ·~· · ·
---=- ::ard eye Half-closed eye Normally closed eye Eye squeezed shut

Adjusting the shape or position o

allows for a variety of facial express· .
when paired with the same eyes and er ~ .
~ ·ous Expressions with the Eyes Closed

: al s t a t e - - - - - - -- - - - - - - - - - - - - --
1/ff~----
1 ~
I (_...
1

)~
 Maintaining the face in the same direction and at the
same angle but changing the hair and the background
(Uses of Showing the Eyes Closed ) makes this face adaptable to any number of scenes.

3/4 View

Sleeping Scene: Adjust the flow of the hair and draw

a mattress edge and pillow creases.

Original drawing

Shower Scene: Draw water or perspiration droplets.

Show the hair clinging to the face to suggest wet hair.

Wi nk

Eating Scene: Add chopsticks and a morsel of food.

'de View

Here .is th e character

noddmg in
acknowledgement
(greeting). I used the
same angle (with
;espect to the panel)
or the eating and
reading panels.

Reading·! ·
. Simply added a book and a hand.

Nodding in
acknowledgement

99
 Combining Features to Express
motions Created by Combining Features
Sample Emotions and Subtle Expressions

C,losing One Eye

8
8
Eyebrows: Angry Eyebrows: Angry
Mouth: Smiling ~·-=. Eyes: Half closed
-+Struggling for patien ....-. Mouth: Angry .
-+Looking displeased,
This expression could change reproachful
Eyebrows: Smiling dramatically by slightly altering the
Mouth: Smiling angle or adjusting the size of the mouth.
-+Wink
Adjusting the Size of the Eyes
Showing One Eye Slightly Closed

E ebrows: Concerned Eyebrows: Angry

: Wry smile Eyes: Both half closed
-+Casting a meaningful Mouth: Smiling
glance, signali -+Smiling scornfully, jeering
 Using Eye Movement to Express Emotions

C:hanging the appearance of

e mouth can also
((
.ramatically affect the mood.

Eye Portrayal Unique to Manga

Using Different Shapes for the
Eyes and Irises
These are rarely used with realistic characters
and are suited toward smaller images.~

'.08
=

0
Dots
Used with small images, these
illustrate a flabbergasted,
dumbfounded, disgusted
Blank Eyes expression.
Often used in close-ups,
these are used to show
dumbfounderment, shock,
or a glazed, vacant look.

101
SL E2

Since the lower eyelid

is being seen through
the tear (liquid), render
it using a finer line.
As tears are a liquid, using
an elliptical shape creates
the look of tears brimming
over. Use a broken line for
the tear's contours.

Stylized Tears: Assorted Crying Faces

'•
Sample Crying Faces

103
 olic Representation 8 ~ ~ Q
motion 8 Q..e e
\
Above the eye
"-....

U derneath and above the eye

Fine lines are used as a rule.

a smile, the vertical line shading suggests a

· e coveri ng something plaguing that character. Note that use of thick lines will look like
lines belie the smile. some sort of decorative patterning on
the character's face.
(Perspiratio~ ~ • Express tension, unease, and the depth of emotion
'0 • Can be used in dramatic as well as humorous situations

Comical rendition Realistic rendition

Serious rendition A single, large sweat bead Combination of sweat

used for a comical rendition bead and vertical lines 105
(___
Da_s_he_s___) @ •• Used to express realization or surprise
Can also be used with a smile or to express
joy or cheerfulness

-
'

Whi le there are no set rules regarding the

number of dashes or where they are placed,
about 3 to 4 lines works fine.

Drawing dashes on both sides suggests

joyful cheer.

... -;::.
(.Blush Marks). Q
v
• These are often used to show a character suddenly
turning red or suggest embarrassment

About 2 to 3 lines are appropriate. When

drawing a close-up of a character drawn in a
realistic style, use numerous, clean, fine lines.

Take care in that

making blush lines
too small can
cause them simply
to look like smudge
.....___ _---;."-----' marks.
Not good

107
"Cross Mark)
' . 0
u •• This
This is a humorous, stock way of representing "anger."
mark may be rendered in any style, and any number

----- of marks may be drawn.

When angered, our blood

flows faster, and when
truly incensed, the blood
vessels at the temple
become engorged and
rise. The "cross mark" is
a symbolic representation
of this phenomenon.

Felt-tip pens work well with this mark.

I
ed cross mark

4-cornered cross mark

I
( Sigh Mark ) 0 • These are_used to represent sighs and snorts.
They provided the model for the speech balloon.

Dumbfounded

Other Popular Symbolic Representations

Draw a smaller version when creating a close-up

Messy hair Horns, fangs, and of a character rendered realistically.
lightening bolts
109
 Using the Mouth to
Show Emotion
Short a Longe

Standard
Mouths

Exaggerating
the Mouth
 Closed ~ • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •~ Open
The size and shape of a speech balloon change along with the intensity of
standard face emotion. The stronger the emotion, the larger and more exaggerated the
mouth, and the larger the speech balloon and copy inside.

Long oo Short e Longo

111
Smiling Faces------~-----------,

Common
Smiling Faces

"Tee hee hee" etc. may also be used.

Tee hee hee or hee hee hee are other options.
113
Chibi (Super-deformed) Characters and Vowel Sounds

~~0.-,

~
 Chapter 4
Manga Miscellaneous
 When drawing key images and
character entrance scenes, do not
Creating Key Images and just simply make your subject
large, but rather draw a pose,
showing the character leaning

Character Entrance Scenes against an object. The image will

carry even more impact if you
keep vague against exactly what
the character is leaning.

These points lie

on the same
line.

Under drawin~/
The key is to draw the
character so that her
back (back of the neck)
and left foot follow the
same Iine as they rest
against the wall.

Ink drawing

.. 6
 aracter resting her
3 bows on a table

•
r II

Character leaning against a pillar

Character leaning out

beyond the panel frame
Under drawing

117
 Vehicles and Figures: Driving Scenes When illustrating a character driving, you are often portraying scenes where
the character would actually be hidden by the car's roof or hood (i.e. when the
figure would not appear in a photograph). Check out angles and shots used in
movies and 1V dramas for pointers.

This is a typical car-driving

shot. Key points are the
partially visible steering wheel
and seatbelt, and the window
frame on the opposite side of
the car.

Perspective
eference drawing Here, the steering wheel is contrasted with the hands. Pay attention
to the steering wheel's diameter and thickness and take care that
the wheel does not become too thin.
r------------------------ ---- ---- ---------------~
I

Special effect lines are drawn

in this direction. Use straight
or curved lines to match the
scene or purpose of the
drawing .

• is composition
· equently appears in
acceleration" scenes .
•,. the composition
a relatively low
~ e: omit car wi ndows
er interior
·=- ~ . !ling in the
: -- space instead with_
~e: and the like.
When Both a Driver and Passenger Are Present

Perspective Normally in a car,

reference drawing A~~~;;r-;;;;;;;~~ there would be
of the passenger enough space (sense
side of distance) between
the 2 characters to
fit another figure.

I_!_ .l
(p==!;:l

b D

~~ OiEjD

li(
1-..'Ll

Overhead perspective drawings

of the cars and passengers

19
 Suggesting Movement Using
a Single Panel: Glancing Back
Taking Notice and Glancing Back

Dashes are a
standard means of
indicating "taking
Here, rather than showing physical notice."
movement, only the gaze is shifting. As the face and body are
Repetition of similar cuts would result facing different directions,
in bland manga; however, since movement is given to the
compositions like this do seem to composition. This
carry significance, artists tend to lure combination is used both
themselves into thinking they are for "taki ng notice" and
showing movement. This is a common "looking back."
trap for beginning artists.
• The Most Common Ingredient of "Taking Notice" and "Looking Back": Showing the Back and Face
Moderately high angle Standard angle Moderately low angle
• The Gaze and Flow of the Hair Evoke a Sense of Movement

Even if the full figure will not be included in

the panel, drawing the entire upper body or
full figure will give your bust and close-up
compositions a sense of energetic
movement.

When you are able to give

torsion to your figure's
waist, then you will finally
be capable of creating a
striking, "key" image.

121
 Penning Techniques
Give you compositions depth by
That Create Depth contrasting light and shadow
and modulating edges.

Horizon Line Avoid rendering in

detail portions of
the hair opposite
the light source.
Instead, emphasize
blackness in the

Using a fin er line for the horizon Using a finer line for the horizon than for Reducing the concentration of diagonal strokes used
than for e figure will generate a the figure will generate a sense of depth. for shading in the gossamer lace will give a sense of
sense o e . volume to the "closer" lace.
 Wind Lines Drawing clothing, angelic robes or other sort of
Space (Wind)
\ . .
shawl or scarf, or long hair sweeping in a wide
arc around a central figure allows you to suggest
f~
.~
space (wind). Special effect lines representing
wind appear in 2 locations at the top and bottom
of the composition.

1 ese wind lines, not visible in actuality, are used to create a sense of the "air's
ensity" or speed. The lines can be rendered in various forms, be it straight or
rved. Here, sweeping arcs are used to suggest air swirling. Having the wind
nes become finer as they wrap around toward the back of the figure allows the
nes themselves to give the composition a sense of depth. 123
arer Droplets The key point here is the contrast between the sizes of the water
droplets and splash. In the foreground , a large wave and a large
splash of water appear in the foreground to suggest "proximity."
The tiny circle centered at the woman's face is in fact a water
droplet. The contrast between the small water droplets and the
large splash create a sense of space and depth.

trast between black, white, and greys form the water's surface. Hatching was used for the greys.
is the shapes used for the mosaic water pattern formed by reflected light. Since this is still
ce , geometric patterns drawn using curved lines were used to suggest the waves' undulations.
 Making Corrections II
Brushes for use
-· e Paint Diluted with Water: Water-based White Paint with white paint

~~rt·:· 1r~r r r r1 1 ~ ~ ~ ~ ~ ~
~
- 1 :'

rt
Misnon comes
equipped with a ~
brush attached to
the cap. This ~
brush is NOT ' I
II
White poster paint
su ited to detailed i :!
work.
Misnon Use fine brushes like a
Note: Too much water mensofude (thin brush used to
can cause the paint
render facial features) or a
to become too dilute.
hakkei (ultra-fine mensofude ).

Place some paint

in a small dish.

Mix well.
Clean up lines sticking beyond boundaries, etc. • As water- based white
paints age, they begin to
dry out and become
Clean-up target difficult to apply.
• The Misnon brand uses a
special liquid that easily
damages the brush.
*Once you have finished
using the paint, wash the
brush well.
• Mistakes made with
Cleaned-up image water-based technical
pens and felt-tip pens are
Area not requiring difficult to correct.
correction *Use an oil-based
product to correct water-
Using White for Special Effects: Adding Highlights to Eyes based materials.

Create tiny dots by After/Final image

Before tapping with a brush.

*Oil-based products consist of correction pens, white ink pens, and liquid paper.
125
 Artist•s P r o f i l e - - - - - - - - - - - - - - - - - - - - - - - -
Hikaru Hayashi
1961 Born in Tokyo.
1986 Graduated with a degree in the Social Sciences and Humanities from Tokyo Metropolitan University
with a major in Philosophy.
1987 Received a hortative award and honorable mention for his work on Shueisha Inc.'s Business Jump and served as
assistant to Hajime Furukawa.
1989 Worked on Shueisha's Shukan Young Jump while apprenticing under Noriyoshi Inoue.
1992 Published his debut work based on a true story, "Aja Kongu Monogatar!" ["The Story of Aja Kong"] in Bear's Club.
1997 Founded the manga design and production studio, Go office. Produced illustrations for the works Butsuzo ni ai ni iko [on
the appreciation of Buddhist sculpture] by Hiromichi Fukushima (published by Tokyo Bijutsu Inc.)
1998 Authored How to Draw Manga: Female Characters, How to Draw Manga: Male Characters, How to Draw Manga: Couples,
and How to Draw Manga: Illustrating Battles.
1999 Authored How to Draw Manga: Bishoujo around the World, How to Draw Manga: Bishoujo!Pretty Girls, How to Draw
Manga: Occult and Horror, and How to Draw Manga: More about Pretty Glas; promoted, produced, and wrote the manga
copy for Koki Ishii's Kokuhatsu manga riken retto (book on the wasteful spending of Japanese politicians), published by
Nesco Co., Ltd.; and produced the corporate identity mascot character for Taiyo Group driving school.
2000 Authored How to Draw Manga: Animals ; produced and initiated the release of Bishoujo Fighting, a dojinshi (fanzine or
small press comic) for pro wrestling fans under the name of Meta (a fanzine specializing in woman's wrestling and cat
fight videos, published biannually when matches occur; fifth issue on sale as of 2002).
2001 Coauthored How to Draw Manga: Martial Arts and Combat Sports, How to Draw Manga: Giant Robots, and How to Draw
Manga: Costume Encyclopedia, Everyday Fashion.
2002 Coauthored More How to Draw Manga Vol. 1 and How to Draw Manga: Costume Encyclopedia, Intimate Apparel,
published by Graphic-sha. Mr. Hayashi continues the planning and production of original Go Office fanzines.

Rio Yagizawa
Ms. Yagizawa was born in Tokyo on January 8. She is a Capricorn with an A blood type. She first started doodling in pencil in
nursery school and made her first attempt at drawing manga in pen during the fifth grade. In junior high, she began to produce
doujinshi type manga works with friends from upper grades and in her class.

In 1981 she debuted as an illustrator with Minori Shabo's monthly publication , Gekkan OUT She acted as an illustrator, an
aniparo (animation parody) and manga artist, an anime writer, etc., contributing illustrations to Minori Shabo's Aniparo Comics,
Akita Publishing's My Anime, Tokuma Shoten's Animage, etc.

In 1986 she debuted as a full-fledged manga artist in Kobunsha's Comic Val. Since then , she has contributed series and single
publication works to Kobusha's Pretty, as well as cover and page illustrations for paperback editions targeted toward young
readers published by Seishinsha, Kadokawa Shoten, Shogakkan, and other publishers. She has authored 9 manga volumes and
illustrated more than 25 paperback books.

J In 1998 she began to participate on the production side with Graphic-sha and Go Office, starting with How to Draw Manga:
Couples and continues such efforts today.

Go Office P r o f i l e - - - - - - - - - - - - - - - - - - - -
Go Office was founded in May 1997 and has been specialzing in the production of tutorial resources using manga and
illustrations, which include publications on How to Draw Manga series.
\.........

126
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Vol.7 : AM AZ ING EFFECTS
Ch apter 1 The Basics in Compos ition
Chapter 2 The Basics in Character Po rtraya l
Chapter 3 The Basics in Vo ice Portraya l
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Chapt er 5 The Bas ics o f Ma n ga Po rtra ya l
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Chapter 1 M at eri als an d Simple Means of Usage
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Ch apter 1 The Trick to a Character's Sense of Presence Lies in
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Chapter 3 Portraying Movement o Enhance a Character's Prese nce
Ch apter 4 More Manga
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