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When drawing the bridge, be sure to ""- include this depression. Manga-esque noses no bridge Here, only the tip has been drawn. The nostrils are usually omitted in this style.

Omit the fleshy part of the nostril and this wrinkle. Nostrils are usually omitted. Sample realistic aquiline noses Again, the contour lines are clearly delineated.

The nostril faces downward. These lines indicate the angle of the ear and the thickness of the helix fold. Take note that for the opposite ear, the image becomes reversed.

As with the realistic ear, the manga ear in a frontal view is about half the width - - - - as in profile. Use a tallish, 6-shaped whorl for the interior. At an angle, the ear forms an oval. The curve of the auricle follows the jaw line. When designing the ears, study how they look from above and other angles. Eyebrows come in various shapes and thicknesses. Keep in mind where the bridge of the nose would be even when bridge of the nose.

Usa the same distance eyebrow to forehead distance in the front view as in the profile. The eyebrow begins Here, the expanse close to the glabella. The distance from the face's center line to where the The distance from the eyebrow starts is short. Draw eyebrows on characters with long bangs if the forehead is visible. Good Not good Here, a thin eyebrow is drawn Without any eyebrows, the mouth between hair strands.

While the and eyes do provide a certain degree eyebrow was added in after the hair, of expression, but the image still it still supplies plenty of expression.

If you draw the face taking up all of the paper, then you may run out of room for the hair, so be sure to anticipate how the hair will lie. The crown whorl actually lies toward the back of the head. Lines for main body '. The hairline should have been drawn here and not the hair layout.

The crown whorl was drawn toward the inside, making it seem like the hair was growing from inside the head.

How the hair grows: The hair originates from the crown The crown whorl is located at the back of the head. The hairline is drawn above the head contour. Maintaining awareness of the crown whorl when drawing the hairline will enable you to produce a head that is round and has volume-even with short hair. Positioning the crown whorl at the Draw the hair radiating Draw the hair using arced back of the head means that long, out from the crown whorl.

Keeping the Crown Whorl to the Back Positioning the crown whorl toward the front will cause your character to have dWeeby hair. Despite that the crown whorl will not be visible from the front, still draw the hair as If growing from somewhere In the back.

Positioning the crown whorl at the back of the head will, at the very least, giVe the Moving the crown whorl to the Here, the head contour and hair visually front may cause the head to hair layout have been consistent roots. Think about how to direct the swirl when drawing the crown whorl in the back of the head and when designing the hairstyle.

Swirling to the left Swirli! The hair flows in the opposite direction on the left side. The more open the whorl, the gentler the curves. Use S- shaped, undulating strokes. This whorl, located at the back of the head, flows to the right.

Swirling hair From the front view, the From the back view, the 62 hair swirls to the right. Swirling hair with realism When sketching the hair layout, assume that the crown whorl will be positioned in the back.

Hair to the back and opposite side flow in Single-length hair the reverse direction. Here, the hair falls straight downward. These strands fall toward the viewer.

Draw single-length hair as if flowing in 3 directions. Where the hair is parted When drawing the back of the head, first draw the head's contour and the ears, using these as guidelines for determining the hair's volume and flow.

A head will increase in size according to the volume of the hair drawn. This is because hair actually grows from the scalp outward, covering the head's contours. Grass always grows upward and then falls over from its own weight. Hair grows in a radiating The amount of volume created by the hair Think of hair as enveloping pattern from the root. The the head's contours, forming Think of the crown whorl more strands and stiffer the hair, the more a "layer of hair.

The fewer the root and Individual strands and softer the hair, the more the hair strands as grass blades. Good When consideration is not given Not good to the hair's volume Here, the hair was drawn with the part to the The resulting head appears flat Here, the hair layout has been top left character's perspective.

While the and distorted. Not a pleasing sight. The sides fall in gentle, almost parallel curves. The back part is located at the crest of the head. Drawing hair falling along the sketched hair layout gives the hair volume. Give the hair overall volume matching it to that of the bangs. Drawing hair from the back Draw the hair growing from the part and then falling straight down.

Having the front tress of hair divide at the ear's center. This will give the flow a natural feel. Note that normally when the head is tilted up, this lock will not lift like this. The lock in front of the ear forms an S-curve when looking up. Crown whorl Draw the hair parting in a gentle curve, flowing from the crown whorl.

When looking down, To start, draw just the general shape of the hair the ear becomes the and fill in the details last. Increase the level of point of reference for detail, using more strokes as you approach the movement in the 66 ends of the hair. Bending back causes the hair to flip back, potentially making the character look like another person.

In manga, albeit unrealistic, the bangs are occasionally drawn lying on the forehead to rectify this. Here, the original hairstyle was emphasized. The ends of the hair fan out, offering variation on the look. TI1e forehead is concealed. Merely concealing or exposing the forehead results in an entirely different look. Tilting the head back makes With the hair flipped back, the the hairline prominent. This strand is defying gravity. The ear peeks through, indicating supple hair. The bangs are parted down the middle.

Show a bit of the bangs on the far side even in the profile view. The tight curls in the bangs maintain their positions even with the head tilted back.

The thick hair tapers in a conical shape. For hair long enough to cover the back, draw the area concealed first and then the hair over that. However, since it is the key factor in determining the flow of the hair, make sure you include it. The falls from the neck. Here, we catch a glimpse of the eyes and mouth, normally hidden by hair. Draw the eyes and mouth and erase the hair where necessary. This is a realistic depiction, where the hair obscures the eyes and The hair flows from the hairline mouth, hiding her facial expression.

The hair does not fan out over Draw the hair fanning out the head much. The hair's kinkiness gives It an unexpected amount of volume in a bob cut.

Draw the distance from the center of the ear to the front of the bangs the same as that from the ear to the very back end of the hair. The individual hairs are fine but stiff, so the shape is retained in profile. Unlike the other styles, this hairdo pretty much maintains its shape whether looking up or down. The end of the hair forms almost a perfectly straight line with the chin.

When composing from a In the back view, bring the hair moderately low angle, draw the to a length that allows view of volume of the ends of hair. The hair is held in place The hairline is exposed, with grease or gel and owing to the flipped back, does not lose its form.

Since the emphasis lies on keeping the hair slick against the skull, the artist must make sure the head drawn properly. When switching the direction faced, maintain awareness of the hairline and take care that the forehead's expanse does not change.

The bangs tend to fall as time passes and may be suggesting by drawing several strands falling k3 with the pompadour, down in front. Making the legs half the total height will give the character an attractive 0 appearance. This circle. Draw the joints: use circles for the shoulders, the elbows, and knees. The knee is bent, putting the leg at a wide V-shape. The hand is smaller than the head.

The elbow is about waist-level and located midway between the shoulder and wrist. CD The pose layout is a basic stick figure. Sketch in the feet use a rectangle. You will find it basic figure layout easier to attain a sense of volume using curved lines than with straight.

Clothing does not come plastered to The above is a basic nude sketch. Use an oval to render the pelvis of a female character. The skewed side view has a slightly more "fashion magazine" type feel and is more flattering to the chest. Using a trapezoidal Cleaned-up version shape will give the back of the basic figure layout a masculine feel.

The shoulder blades become a key point in drawing clothing creases. Clothing rumples around major joints other than the wrists and ankles. Imagining the creases forming in a "coiling" pattern when drawing them will give the muscles volume.

CD The basic stick figure is drawn the same as with a male figure. Sketch in the hair layout from the start. Add clothing. Be sure to draw the collar, even though it will ultimately be Nude sketch hidden by the hair. To achieve this, artists use the head as a reference measurement for the figure overall. The body-to-head ratio refers to how many head lengths measure the figure's total height. A character that is 6 heads tall has a body-to- head ratio.

One that is 8 heads tall has an ratio, and so on. Character with a body-to-head ratio In a character with an body-to- head ratio the character's height is equal to 8 heads piled one on top of the other.

Here is a contrast between an character and a character. The differences in head sizes causes 2 characters of identical height to have different body-to-head ratios, affecting the characters' appearances 84 and atmospheres projected.

Use a ruler to plot the body-to-head ratio. The body-to-head ratio is the total height divided by the head length. The body-to-head ratio of the character to the left is- At first glance, these appear to be the same manga page. Here, the head is bigger than it should.

Here, character looks the same When the character first appeared, his as when he first appeared on the body-to-head ratio was but now it is and nothing seems unusual.

The reader senses something odd. The figure's proportions are balanced by adjusting the positions of the Balancing Proportions waist and groin. Characters with the same body-to-head ratio can be All three figures are the same height and their distinguished by the positions of their waists and groins. Sample proportion balancing by It is not necessarily true that all characters must be drawn with to body-to-head ratio the groin positioned halfway along the figure.

Characters with body-to-head ratios of look awkward with their legs taking up half their bodies. A ratio is ideal for boys and girls in the 9 A 4. This is to year range. The groin Is positioned just well for 5 to 8 year suited to preschoolers around 3 to 5.

The low of the halfway mark, making the legs olds. This can be used toward high school young elementary middle to high school for boys and girls alike who are aged about 9 student and adult male school students around students, both boys and to 12 years.

This ratio may also be used with and female characters. This Is also because normally, school aged characters leggy boy. Keeping Male and Female Characters Distinct Male character The chest is usually The groin is located about 1-head usually located length below the halfway along head.

For this figure, I Halfway mark moved the groin above the halfway mark, making her a little leggy. Key points in distinguishing male and female characters The woman's eye comes to Adjust the height about the man's chin. Usually when drawing a couple, it is a good idea to make the female Male character: character shorter than the male.

Use about a half or full head Female character: 7. Adjust the proportional balance Give your male characters broad For both male and female shoulders about twice characters, draw the the head's length to get waist about 1 head's a properly masculine length above the groin. Aim for characters. Lines for male Lines for female characters tend to characters tend be straight. Use to be curved. Give male characters larger joints and female characters smaller ones. At this stage, the shoulders and pelvis may be drawn the same size for both sexes.

The female torso is a triangle. Using large circles for the Using small circles joints will facilitate drawing for the joints will muscular, masculine arms. When you find a character in a work of manga that appeals to you and think you would like to draw it, take a careful look not only at the character's face or clothing, but also the body and head's proportions. These are the key ingredients to drawing a visually pleasing character.

However, basically this means, for example, drawing a seated character standing. J established. Groin Halfway mark Here, I set the established the groin's groin halfway along the position, the torso and figure.

You need to know the distance from the head to the posterior to draw this pose. I To start, draw a stick figure side view to help you understand the The posterior hips from the front is located about pose.

Draw a proportion layout using a ratio. The distance from the knee to the foot is 2. Here we see the final drawing. It has been drawn so that the body is visible from underneath. Normally, the body is not drawn in such detail, but I intended on this serving as reference for studying the relationship between figures and clothing.

Position a character's full figure on a sheet ' of paper, like this. In the case of an ratio: 20 em. Note that the head size should include the I.. Check to see what body-to-head ratio you normally use for your characters. Analyze the proportional balances of a man seated in a chair.

The center line. Transform the layout of the man into a woman. Make the shoulders narrower. All the steps in this book are visually depicted in a very detailed manner and are self explanatory. Hence there are no written instructions required. I hope that you enjoy this book. How to Draw Manga! Gotcha Again for Guys! It makes the reader is easy to know the meaning of the contentof this book. There are so many people have been read this book. Every word in this online book is packed in easy word to make the readers are easy to read this book.

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