Manga Sketchbook E-Book

Sweatdrop Studios

• Herausgeber: Fox Chapel Publishing
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2020

Seitenzahl: 81

Beschreibung

Go mad with manga! Manga Sketchbook is the ultimate guide to learning how to draw a variety of iconic manga-style characters. A must-have for every fan, this book provides tons of tips and details the building blocks to drawing both male and female manga characters. Including graph paper practice pages both with and without helpful guides, children will spend hours sketching and perfecting dozens of drawings! Also included are in-depth character profiles to draw, color, and bring to life.

Leseprobe

SWEATDROP STUDIOS

CONTRIBUTORS

HEAD CONTRIBUTORS

Sonia Leong –

Sweatdrop Editor, Author of 

Beginning

Manga

 and 

The Complete Guide to Drawing Manga

Tutorials: Head, Figures and Proportion, Clothing; Step-by-Step Creations: Male Child

Alternative 1, Teenage Female

Selina Dean

Tutorials: Faces and Expressions, Figures (Exaggerated Proportion Sets), Clothing example,

Accessories, Chibis/Super-Deformed Characters; Step-by-Step Creations: Female Child,

Teenage Male Alternative 2

Hayden Scott-Baron

Tutorials: Clothing example, Lighting, Color Theory; Step-by-Step Creations: Teenage Male,

Adult Male Alternative 2, Adult Female Alternative 2

Laura Watton

Tutorials: Hair, Hands and Feet, Clothing examples, Accessories examples; Step-by-Step

Creations: Female Child Alternative 2, Adult Female

Emma Vieceli

Tutorials: Eyes, Clothing examples; Step-by-Step Creations: Male Child, Teenage Female

Alternative 2, Adult Male

OTHER CONTRIBUTORS

Sam Brown

– Adult Female Alternative 1

Carrie Dean

– Teenage Female Alternative 1

Niki Hunter

– Adult Male Alternative 1

Aleister Kelman

– Teenage Male Alternative 1

Morag Lewis

– Female Child Alternative 1

Wing Yun Man

– Male Child Alternative 2

2

Contents

TUTORIALS

Head

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

4

Eyes

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

10

Faces and Expressions

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

16

Hair

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

22

Hands and Feet

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

28

Figures and Proportions

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

38

Clothing

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

56

Tools and Equipment

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

62

Lighting

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

64

Color Theory

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

66

STEP-BY-STEP CREATIONS

Male Child

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

70

Female Child

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

90

Teenage Male

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

110

Teenage Female

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

130

Adult Male

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

152

Adult Female

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

172

3

Head

Although manga is a very distinct form of artwork, it is based on the fundamental skills of basic figure

drawing and knowledge of anatomy. Too often many beginners launch straight into the more famous aspects

of the manga style, such as the exaggerated facial features and the lustrous hair, and upon completing their

drawing realize that something does not look quite right. It is very important to have some knowledge about

how the overall head of a character is put together, as it forms the “canvas” for the face, allowing you to place

facial features accurately. Knowing how to construct a head from first principles will mean that you can

effectively portray a character from almost any angle. The human head comes in many different sizes and

shapes. However, all heads are formed from a skull, which can essentially be represented by a sphere with a

lower jaw.

BUILDING BLOCKS

1.

Draw a circle for the upper

part of the head. Draw a cross

over it, splitting the circle

into quarters. The vertical

line represents the center

line of the head and face. The

horizontal line represents the

upper eye socket line.

2.

Draw curved lines from the

sides of the face to the bottom

of the vertical line. These lines

map out the chin and jaw.

Draw another horizontal line

in between the eyeline and

the point of the chin, roughly

equidistant from the two. This

helps place the nose.

3.

Using these lines as a rough

guide for the placement of

features, add in the details of

the eyes, nose, ears, mouth,

and neck. The ears are at a

similar level to the eyes and

are spaced evenly on the

sides of the head. The mouth

is approximately halfway

between the bottom of the

nose and the chin.

4

USEFUL TIPS

Note that the strength and length of the curve can

vary for different faces, depending on how far you

extend the vertical center line.

For a male face, make the neck thicker, the eyes

narrower, the nose longer, and the jawline more

angular. Don’t forget the Adam’s apple!

These guidelines are intended as a rough way of

placing facial features. Depending on the type of

character you are drawing, features can extend

beyond these lines.

When drawing a child, the lower half of the head is

more compact, making all the facial features much

closer together. Draw a small, short nose and mouth,

but keep the eyes large, as in real life. This conveys a

sense of cuteness.

5

You Try!

6

7

DIFFERENT VIEWS

To draw a side view, start with

the forehead, then dip in slightly

before drawing the nose. Below

the nose, draw another dip into

the lips, then chin. Note how the

lips and chin are not far from the

face’s center line. Also observe

the placement of the ear, slightly

closer to the back of the head than

exactly halfway.

Three-quarter views benefit

most from guidelines – think in

three dimensions when drawing

the center line and eyeline.

Take care with the side of the

face – draw a slight dip below

the temple, rounding out to the

cheekbone. The jawline can then

be round, sunken, muscular, etc.,

as appropriate.

OVER TO YOU!

Here are various examples of

different characters’ heads

from several viewpoints. These

characters do not have the same

facial proportions, as they range

from male to female, young to

old. By using the basic model,

you can ensure all of the features

are realistically placed at every

angle the head is viewed from.

8

You Try!

9

Eyes

Large eyes are the most iconic feature of the manga aesthetic. However, there are many different approaches to

drawing manga-style eyes, and each approach can radically change the way in which a character is perceived.

Manga is all about individuality, so use the following guidance as stepping stones to developing your own

unique style.

BUILDING BLOCKS

On the two-dimensional plane, an eye is made up of

three sections: the upper line, the ball, and the lower

line. These three simple parts can be molded into an

infinite number of unique styles. Two very different

examples are shown below and on page 12.

1.

The upper and lower lines are elongated and

flattened. An outside corner has been added and

the two lines are almost touching, closing in the

eye. The ball is partly obscured by the upper line,

suggesting a hooded or glazed expression.

2.

The upper lashes are curving down into the eye

rather than upward as expected. This closes the

eye in further.

3.

A double line has been added inside the lower

line for a three-dimensional perspective. A

couple of extra lines added above the eye show

the eyelid and even the start of the bridge of

the nose.

4.

Finally, a light source is added to increase the

glazed look. The overall impression is of a closed

and mysterious character.

1

2

3

4

10

You Try!

11

SIDE VIEW

When drawing an eye in profile, remember that

the upper and lower lines originate from the outer

corners of the eye.

POSITIONING

As a general rule, when positioning eyes on a head,

they are placed in line with the ears, halfway down

the head (see step 1, page 4). A simple rule of thumb

for distancing the eyes from each other in a straight-

on view is to imagine an invisible third eye in the

center. When drawn in a three-quarter position,

the eye furthest from the viewer will seem slightly

smaller, partly covered by the bridge of the nose.

1.

The upper line is arched rather than flattened

and the lower line shortened. There is still an

outside corner, but this time the two lines are

further apart. The ball has been expanded

upward and is fully visible.

2.

A large and simple lash has been added to

this eye, rather than the complex lashes of

the first example.

3.

The double lines are still in place.

4.

This time, two simple light spots have been

chosen. The impression here is one of wide-eyed

wonder and brightness.

1

2

3

4

12

You Try!

13

LIGHT SOURCE AND COLOR

As an additional touch, color and light are distinctive

features of manga. Eyes offer the opportunity to go

crazy with them – almost anything goes!

1.

Large black pupils curl right around the iris.

There is only a small light spot in each eye.

2.

The large pupils have been colored a slightly

darker shade than the iris, rather than

traditional black. These large eyes reflect a lot of

light back!

3.

A gradient fill (a color fill that gradually blends)

has been used – no pupil is visible at all.

4.

An extreme amount of light spots has been

added to accentuate the openness of the

eyes, and the upper and lower lines have been

dispensed with. This is all done for comic effect.

OVER TO YOU!

Armed with the basic

foundations of shape, build,

positioning, and light, it

is time to see what you

can create! Within the

boundaries of the rules of

thumb that we’ve given you,

it is possible to create a vast

array of different eyes –

some examples are shown

right. Each one is simply a variation on our three-part eye. Can

you spot what has been done to each section? What kind of

characters would have eyes like these?

1

3

2

4

14

You Try!

15

Faces and Expressions

On the most basic level, manga-style faces look very similar: they generally have tiny noses and huge eyes. But

beyond the obvious similarities, there are many subtle nuances that you can use to build a unique style and

individual characters.

EXPRESSIONS

An important aspect of achieving a genuine manga look with your characters is stylizing their expressions

correctly. Many characters will have a set of common expressions, depending on their attitude and personality.

For example, shy or stoic characters won’t be seen with overly exaggerated expressions. Likewise, a happy or

comedic character will lose its impact if you give it subtle features. Think about your character’s personality

and what kind of faces he or she would pull! Some examples are shown below.

HAPPY

SAD

ANGRY

SURPRISED

EMBARRASSED

LAUGHING

16