Basics for Beginners/

and Beyond

Tadashi Ozawa
 ~-
,•.
I

Vol.1
Basics for Beginners
and Beyond
 Introduction
"I want to have a go at drawing anime and game
characters." "I want to draw manga." Or, "I want a job in
Graphic Design." If you bought this book, you are
probably thinking along these lines. "But I can't draw as
well as so-and-so from my Art club, and I am no match for
that guy who researches manga and has started his own
coterie magazine." There are a lot of people out there
who would like to give it a try but don't because they think
it looks too difficult and don't know how to go about
improving their drawing.

I wrote this book to help these kind of people. Those

around you who are good at drawing were not born that
way. You too could draw if you could just change your
way at looking at things slightly. It is surprising how many
people actually draw from memory (off the top of their
head). Instead of concentrating on the difficulties involved
in drawing the human body, start by taking a long look at
how the professionals approach it.

The following is a list of special terms

and abbreviations used in this book.
Bishoujo: Young, pretty girl
Bishounen: Young, attarctive boy
CG: Computer Graphics
Gakuen Genre: School Life Genre
OVA: Original Video Anime
RPG: Role-playing Game
SO: Simple Deformed (Exaggerated)
Shoujo: Young girl
Shoujo manga: Girl's comics
Takarazuka: An all-women theatrical company in Japan
 An important
thing to
remember
about
drawing is •.,J0if/f/.7

Errr... errrr ...

... to be exact
I can draw it.
/
/I

Done it! Perfect! Conguratulations!

Mr. future ani me -...........
artist.

Is great fun.
CONTENTS
Introduction·········································································································· ··2

Chapter 1 Let's get down to the basics!

1-1 Where are you going wrong? ····· ··· ··· ····· ···· ····· ··· ·· ·· ·· ··· ······ ·· ·· ··· ·· ··· ··· ···· ···········8
1-2 The points to s.tart with ····· ··· ··· ··· ···· ······· ··· ··· ·· ····· ·· ·· ·· ···· ·· ······· ····· ··· ·········· ······1 0
1-3 Where am I going wrong?······································································ ······12
1-4 What makes a "good picture?" ············ ·························································16
1-5 If you can hold a pen and draw straight lines in pencil,
you will be able to draw. ···············································································18
1-6 Start drawing for real! But before that. .. ···· ····· ······ ···· ·· ··· ··· ··· ··· ·· ········ ···· ···· ·.. 20
1-7 Now flesh out the outline! ·············································································22
1-8 It is time to think about body proportion now. ··· ·· ···· ··· ·· ··· ······ ··· ·· ·· ······ ·· ·· ···· ··24

Chapter 2 Different Ways to Draw Characters• Expressions

2-1 Think polygons. ·········· ······· ··· ··· ··· ······ ·· ··· ····· ······· ······ ···· ·· ······· ····· ·· ·· ·· ··· ····· ··· ··28
2-2 Drawing For Real! Parts of the Face and Position········································30
2-3 Cross-Lines For Different Characters' Foreheads··································· ·····33
2-4 Draw Faces from Several Directions. ··········· ····· ······· ··· ···· ·· ·· ··· ·· ············ ······· ·34
2-5 Introduction to Different Types of Characters···············································37
2-6 Characters' Expressions by Type/ Head
Exaggerated Type A/Girl······································································ ·38
Exaggerated Type A/Boy ·····································································-40
Exaggerated Type B/G irl· ····································································· -42
Exaggerated Type B/Boy ·····································································-44
Exaggerated Type C/Girl······································································-46
Exaggerated Type C/Boy ··· · ······························································· ·· -48
Simple Type A/Girl·················································································50
Simple Type A/Boy············································································ ····52
Simple Type B/Girl·················································································54
Simple Type B/Boy ········ ······ ··· ··············· ·· ····· ···· ··· ···· ··· ····· ··· ···················56
Real Type: Shoujo Manga Genre/Girl····················································58
Real Type: Shoujo Manga Genre/Boy·············································· ·····60
Real Type: Game Genre/Girl···························································· ·····62
Real Type: Game Genre/Boy ·········· ····· ··· ·· ·· ·· ······· ··· ········ ·· ········· ···· ···· ···64
Real Type: Game Genre/Anti-heroine ···················································66
Advice from a Young Creator ············································································68

Chapter 3 Drawing Bodies

3-1 The Body ······································································································ 70
3-2 Using Cylinders for the Body Parts······························································ 72
3-3 Draw Cylinders from Any Angle. ··································································74
3-4 The Direction of the Body
3-4 A Girl's Body·································································································78
3-5 A Boy's Body································································································ 79
3-6 Characters' Expressions by Type/ Body
Exaggerated Type A/Girl·······································································80
Exaggerated Type A/Boy ······································································82
Exaggerated Type B/Girl···· ·· ··· ······ ····· ········ ···· ········· ···· ··· ····· ······· ········· ··84
Exaggerated Type B/Boy ······································································86
Exaggerated Type C/Girl· ............................................. ·· ·...................... gg
Exaggerated Type C/Boy ...................................................................... go
Simple Type A/Girl······· ..... ····· ... ·········· .................... ·....................... ······ ·92
Simple Type A/ Boy·············································································· ·94
Simple Type B/Girl·················································································96
Simple Type B/Boy ······· ····· ··· ·· ··· ····· ···· ··· ········· ·· ········· ···· ······ ··· ···· ··· ··· ···· ·98
Real Type: Manga Genre/Girl·- ............................................................ 100
Real Type: Manga Genre/Boy ......................................... ·...... ···· ......... 102
Real Type: Game Genre/Girl ............................................................... 104
Real Type: Game Genre/Boy .............................................................. 106
Real Type: Game Genre/Anti-heroine ................................................. 108
Advice from a Young Creator ········································································· ·11 0

Chapter 4 Drawing Detail

4-1 Drawing Supporting Characters ................................................................ ·112
4-2 The Design of the Supporting Characters:
Looking at Height ...................................................................................... ·114
4-3 Hairstyle a Ia Carte ............................................................ ·............. ·.......... 116
4-4 Practice Drawing Eyes ............................................................................... 119
4-5 Practice Drawing Feet. ..... ·......................................................................... 123
4-6 Practice Drawing Hands ............................................................................ 126
4-7 Character Arrangement and the Scene .... ·.. ······.. ·........ ·.. ·.............. ·.......... 129
4-8 Go for the 360° Challenge! ......................................................................... 133

ChapterS Now, lt•s Time for the Real Test

5-1 A Critique: Example 1................................................................................. 134
5-2 A Critique: Example 2 .................................................... ·......... ·................. ·136
5-3 A Critique: Example 3 ................................................... ·· ·· ·......................... 138
5-4 A Critique: Example 4· ··· ··· ·· ······ ············· ·· ··· ··· ·· ·· ·· ···· ··········· ··· ··· ····· ···· ·· ···· ·· ·140
5-5 A Critique: Example 5 ................................................................................. 142
5-6 A Critique: Example 6·················································································144
5-7 A Critique: Example 7·················································································146
5-8 A Critique: Example g .. ......... ·....... ·................. ·.......... ·............ ·................... 148
5-9 Finding the Best Pose ............. ·.................................................................. 150
HOW TO DRAW ANI ME & GAME CHARACTERS Vol.1
Basics for Beginners and Beyond
by Tadashi Ozawa

Copyright © 1999 Tadashi Ozawa

Copyright © 1999 Graphic-sha Publishing Co., Ltd.

First published in 1999 by Graphic-sha Publishing Co., Ltd.

This English edition was published in 2000 by
Graphic-sha Publishing Co., Ltd.
1-9-12 Kudan-kita, Chiyoda-ku, Tokyo 102-0073 Japan

Original design: Motoi Zige

English edition layout: Shinichi lshioka
English translation: Lingua franca, Inc. ([email protected])
Japanese edition editor: Sahoko Hyakutake (Graphic-sha Publishing Co., Ltd.)
Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior written permission of the publisher

Distributed by Distributed Exclusively

NIPPAN IPS CO., LTD. in North America by
11-6, 3 Chome, lidabashi, DIGITAL MANGA DISTRIBUTION
Chiyoda-ku, Tokyo 1123 Dominguez St., Unite "K"
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Tel: +81-(0)3-3238-0676 Tel: (31 0) 604-9701
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E-mail: [email protected] E-mail: [email protected]
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First printing: August 2000

Second printing: March 2001
Third printing: May 2001
Fourth printing: August 2001

ISBN: 4-7661-1120-6
Printed and bound in China by Everbest Printing Co., Ltd.
Chapter 1
Let•s get down to the basics!
 Let's get down to the basics!
.
Where are you going wrong?

Take for example the three points A, Band C below.

What are you looking at when you draw the straight line A-Band the curved line A- C- B? At the pencil? Or at points C
orB?

When you are drawing a picture, you must visualize the direction of the line you are drawing, looking not just at the point of the
pencil but equally at the three points A, Band C. People cannot draw shapes properly if they are just looking at the pencil point.

0 X
'
''
''
'
~
• • • •

Next, look at the 7 random points below. What can you see?
Just a cluster of points? Or can you faintly discern a shape? You haven't got it yet, have you?

•
• • •
• •
•
• •
• • •
• •
Let's number the points at random. You still naven't got it yet, have you?

.s

5
•
6•

Let's renumber the points to give them meaning. You see, your eyes automatically follow the points in
order. Those who can make out the shape from looking at points in this way are able to draw shapes .

• 8
:1.
t.•
• 2 3
• •
J.f
• 7
5" •
2• •II • 6
3. •

Finally the points are joined up. Random lines join to form a shape. Those talented at drawing can perceive
hidden lines within a picture and trace them smoothly. Your ability to draw shapes depends on whether or
not you can visualize the points in the correct order.
 ,_ ~- ........... >r,~~ ......... ~ ...,..y,~~-·... ' ~

Let's get down to the basics! · _" 'C"i .' • · ·: . • • -.

! '"-' ' • ~~- ~ I • ' •

. •,
.!
The 1points to, start with
0 - 0 • L..o~.:~ -~ ~ ... -u...::.....~ . - -

Have you heard of the phrase motion capture that is common in the world of computer games and Comuputer
Graphics(CG)? It is a useful system whereby the computer reads a person's movements using transmitters placed at
certain points of the human body.

Actually this same function is also evident in people who can draw well. Think back to the method of drawing lines A-+8
explained on the previous page. An entire body or face is mapped out using points situated at the corners of the
eyes, the bridge of the nose , arm joints etc. This enables a proportional picture to be drawn. Put another way, if
you concentrate and look hard, you too can detect where such points are on the face and limbs.

The process
1. Sketch a rough image of the entire picture you want
to draw.
2. Draw the points for the position of the eyes,
eyebrows and shoulders, taking care that they are
symmetrical.
3. Draw an outline by joining up the points.
4. Increase the number of points to decide the eyes,
nose, beard, shape etc.
5. You have done!
 • • I
. I
.
. . •'
<
'
'• I I I I
- . ~· - - . ·-···~ -~~"~ ..i:..~~~~~~

First, where you are going wrong? Let's compare an amateur drawing with the work of a professional. It is not just a
matter of this picture is good and this one is bad. A professional's work demands many things: attention to minute detail,
knowledge of the subject matter, the ability to concentrate, and smooth line strokes. Compare your drawings with the
following pencil drawings and time how long you take.

Absolute Beginner Beginner: You•ve got the

perspective right but. ..

_ _ _ _ _ _ _ _ It is more important to get the

outline right than draw each
strand of hair.

What happened
to the sword
design? It is
not finished
yet. __ _ _ The shoulders are too
small and too high.

The gun is one-dimensional

' and looks like a toy.

The hand pose is meaningless. '

The purpose of
this belt is not
evident. '' ---------..
l Unnecessary creases. J

When drawing from

the head down, there
is no room to draw the
feet at the bottom of
the paper. Start by
working out the length
of the whole body.
 The professional·s work
Let's make some changes because
the set of poses lacks something.
I

The character design phase

Emphasize individuality by
thickening and darkening the
Define the contours
upper eyelashes.
of the face.

Persevere and patiently

draw the details.
Reveal the navel
to increase
sexiness.

Think of the
sword as
three-
dimensional.
I
I
I
I
I
I

Fix the position of

the sword and gun-
belt so that they
form a clear cross
section.
 ,~-------- Intermediate: The lines are still not right
fV/'', 1 ',,,
\ ',,

Don t draw '(

unnecessary Lines are sloppy. Draw them more smoothly.
gestures.

The ear is too far back.

------
--- The pattern is not suitable.
Hands are very
important tools to
express the
character's - ---- - - - A better pose would be an
personality. arched back.

___ --- --- Pay attention to the pose and

the way the left hand is drawn.

The professional•s
work

Angulate the feet to

make them three-
dimensional.
 Advanced: At a glance it Make eyebrows and eyes
looks good but ... symmetrical.

Slim down the fingers

, j Wavy ha1r looks softer.
to make them more --- ----
feminine.
The chin is slightly out.
Pay attention to the position
of the hand. Move the hand
to one side because it is
Vary the thickness of the lines to
difficult to see properly if it
make the character more three-
is over the body.
,,' dimensional.
,..----------------.. ,,',,
The accessory design is
important but also pay
attention to the details.

Express a sense of weight

by flattening out the
bottom where it is in
contact with the ground.

The legs are slightly too long.

The professionat•s work Broaden the feet to give the --- --- ---
composition more balance.
 Let's get down to the basics! - .. r .' _,., •• . • • . :
·' .... . . . . ._1c~4 '. ·~

. : : \~j{~·i :m·~·ke_s ·a "good picture?'~ :

.. U.h . . .·

I
What makes a good picture? The sketch? Careful detail? The design? The theme? The composition? All of these
components are important. But if you want to have your work seen by others, you must create an impression and
communicate your feelings. In other words, you need to be able to communicate in a subliminal way with those who see
your work.

Start by drawing a square box.

1. The frontal view 2. The diagonal view 3. A shadow cast on no. 2.

4. In perspective 5. A sense of height 6. A pattern

In nos. 1-6, new information is

added to the box. Similar to the
revised drawings featured on
the previous pages, the amount
of information contained in the
drawings done at the level of an
absolute beginner is different to
7. A mechanical pattern 8. One box becomes two that in advanced work. This is
illustrated by the difference
between nos. 1 and 8.
The observer (the person who set the task of drawing the boxes) would be expecting only to see what was asked for.
that is. a square box. Nos. 6 to 8 exceed these expectations. You cannot say that nos. 6 to 8 are mistakes. In
fact. each one is an effective clue that shows individualistic interpretation.
I
It is invaluable to give the drawing an element of surprise and incorporate extra information into it that would
make it more interesting. Of course, to do this you need to be able to sketch. But on top of that. you must also come
up with an ingenious theme, character pose and design.

Although the character in nos. 9 and 10 is one and the same. you can see how they differ not only in design but
also in personality. It is a subconscious prerequisite in the reader's mind for main anime and manga
characters to be attractive. It is what is expected. By adding depth to their attractiveness, we can surprise the
reader by surpassing their expectations. It marks the first step when someone says your drawing is "good,"
but a real beginning when they say it is "great."

You can also draw in accordance with reader's expectations like in the coterie magazines.
For instance, looking at the boxes on the previous page, although the animator can draw up to level 8, he or she
doesn't because readers are expecting to see a level-6 drawing. Similarly, an animator, instead of drawing a realistic
illustration. draws manga with simple strokes and creates
suitable characters such as the Simple deformed(SD)
Character.

I
 If you can hold a pen and draw straight lines in pencil, you will be able to draw.
~ ......_ ~ • - • ~-- ~ - - • ~- "- _.._._·_ . . . . -- < --:.....t - - .......... ' • • J - .. - ~ .. -.... - -- • ~ -

I
Practice drawing the 8 boxes (cubes) on the next page freehand.
These boxes are drawn freehand without thinking about perspective
and the vanishing point. Up close, they may look a little strange. But
they pass for three-dimensional shapes.

The picture above is simply an

arrangement of parallel lines
drawn without using a ruler. It
looks fine to you, doesn't it?

The same method can be used

for drawing a character's face.
As long as if you visualize the
image in straight lines, your
lines will not be out.
First of all, draw the square boxes.

A view from below A view from above A side view

//
- - - - --

A vjew from .above A vjew from above A vjew from ground level
,
How to draw with accurate perspective
is explained in specialist books but you
don 't have to be able to draw with
precision like an architect. Once you get
used to it, you won 't need to use a ruler
or think about the vanishing point.
To draw straight lines freehand ... Draw
a line on a blank sheet of paper from
one point to another, imagining the end
result in your mmd and remaining
aware of the pencil point. You do the
same with your sketches, just on a A view from ground level A view from above
larger scale.
 Before you begin ...

Start drawing for real! But before that. ..

It's OK saying you'll start drawing, but what are you going to draw?
Do you get hold of the pencil willy-nilly? Are you going to draw a RPG (Role Playing Game) Character? A manga
character? Acharacter in a fight? Or, are you planning to draw an illustration or a poster? Charts of characters' Basic
Expressions? It doesn't matter if what you draw is a scribble. Only, make sure you have a concrete image of the
character, the scene and the pose.Good pictures start with character design.
Once this is decided, you draw the outline of the movement to create a general image. You don't have to worry about
drawing the hands over and over· again or if there is enough room for feet on the page. A good picture has
a solid outline. This is the first step in a sketch.
Several poses are shown below. Pay particular attention to the bending of the backbone. The human body is
quite flexible and the backbone is curved even in a standing position .
A character's individuality is evident even without such details as hairstyle, eyes and creases in clothes. Your job is
I
not simply to decide the pose. It is also to direct and thereby incorporate more information about the character
into the drawing. This is subliminal information.
For those of you with doubts on your ability to draw, take a look at the sketches below. When It comes to using
only lines and circles, it is not really a matter of making judgements about skill levels. But these sketches do
actually decide about 40% of what makes a good drawing.

Don't iust look at

these poses. Think
about the outlines
for your favorite
animators' and
artists • illustrations
_, __a~nd drawings too.
 Now flesh out the outline!

I
Generally, people think that getting the balance right in a sketch is hard. But it isn't really. Think of the simplest polygon.
When you are drawing an illustration, you don't have to draw a square. However, you must decide which direction each
part of the body is facing . And once you have got this you will be fine.

I
As long as you can draw square
boxes, you will be able to draw
characters.
 . . .
is time tQ think.,aJ!~uH~~~.Y · pr~Q.portions . now.
It 1 .
. ~6- .. .
~---·:.; ~:_ ~r:~~.<j'-:.-{'·~:u.: . __.. _ . _,~

Which of the six types shown below appeals to you the most?
The OVA (Original Video Ani me)? Manga? Illustrative? You may have tried to imitate the style of your favorite manga
artist or animator, but it just doesn't look the same.

So far, the characters you have sketched differ in body proportions and design to the characters you like.
We don't have to analyze the body proportion of characters in great detail. Alii ask is that you are aware of which type/s
you want to draw.
--I
1.
I
-~-

I
1-

-,-
I
2.

-,-
I

I
-~-

1. Comical Animation Character 2. SO Character 3. Bishoujo (Young, pretty girl)

Large head, hands and feet. Not _ A small body with a A thin waist and slight
much definition of joints and large head. Not definition of body contours.
muscles. Limbs look small particularly comical or Joints and muscles are defined.
compared with the head. cute.
 I

4. Shoujo Manga (Gal's 5. Comical SO Character 6. Real Type

Comics) character Unlike the SO Character on the The length of the body torso
Overall very thin with long previous page, this type looks and legs are roughly the same.
legs. For girls, body contours funny with thin arms but big Girls do not have exaggerated
are defined but the head is hands, legs and feet. narrow waists.
small. Boys are drawn almost
the same but with broader
shoulders.

I
I
Character drawing differs with the subject. It is not simply about body proportion . Depending on whether it is manga or
an illustration, for example, the same character will have very different features . Compare the different drawings of the
same character below, especially looking at the ways the eyes and hands have been drawn. Do you notice how some
features have been drawn in detail while others have been omitted.

I
I
Comical type

Popular type

Real type

SO Mascot type
Chapter 2
Different Ways
to Draw Characters• Expressions
 ' .. .- ~ ....--

Different Ways to Draw Characters' E~pressions

· . Think polygons.
~~ ...~..::...~ ·~........ ... -

Have you ever looked at a drawing you 've done through the back of the paper?
You can easily see distortions in a sketch if you do. Especially those faces looking straight out.
These distortions come about when you are preoccupied with flat outlines and not not thinking in 3-0..
What can be done about it? The answer is think polygons. The drawing below, a common one in video games, is like a
piece of sculpture, isn't it? You don 't have to be able to draw it. What's more important is that you acquire a feel for it. It
is very abstract. But the feeling is important. If you have this, your drawings will have the power to move people.
Think back to the square boxes in Chapter 1. They are the simplest polygons. Next, we will take a look at how characters'
bodies can be made up of polygons.

'

This is the first stage. Take care A simpler polygon looks like
when drawing the mouth . The lips this.
The completed drawing: jut out but are not curved. So it
The professional•s work looks as if they are just stuck on.

You can 't put your finger on it but

something is wrong with this
drawing.
 The drawing went wrong at the initial stage. Look at the eyes. First, look at the size of them. The left and right eyes

I are slightly different. Then, look at where they are. The position of the eyes is off and this is the most common
reason for a picture looking odd. The height of the eyes is unnatural because they are not aligned parallel with the
inclination of the face (the outline of the head). It would be the same curved. Look at the completed drawing below.

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The midline is off center.

The eyes are not the

same height. The
cross-lines on the face
are at completely -----
---~ - ..L ___ _
~----
different angles.
;_:·---~ t:::..
- I

~'-~--.,__.: ___
-- ----- - -- --
------- :-----
----- +- ---
- ----- :----
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-
The lines for the height of the
eyes should be parallel. The
cross-lines on the face should
cross the midline at right
angles.
 Drawing 'For ·Reai! "Rart~~of;the. ~ Face and Position
• • ~~li" .. '! ~ '...... - .. ~... ~£~"l~/·,.._,AA.f'_,:: '.:.·-.: ' . ~.., ~

I
As explained on the previous page, when drawing the face, the most important line that you draw is the cross-line. It is
the first one you draw and decides position and direction. Drawing the features, the eyes and the hairstyle may be more
fun but it is the cross-lines that decide the character design. So, pick up a pencil and have a go at drawing the real thing.

Real Type Character

1. First of all, the horizontal 2. Next, the midline is drawn 3. Then , the horizontal lines that decide
cross-line decides the height of vertically on the full face. This the positions of the mouth and
the eyes. line marks the bridge of the eyebrows are drawn . The distance
nose. between these two lines decides the size
of the eyes. The knack when drawing the
character below is to draw these lines
Exaggerated Type Character wide apart so that the eyes are big.

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 I

4. The position for the nostrils 5. Above the line that decides 6. The outline between the eyebrow
is marked on the line for the the height of the eyes draw line and the eye line hollows out.
bridge of the nose. The eyes are another line to decide the size of This makes the depressions for the
drawn on this line and their size the ears. The height of the ears eyes. Mistakes are often made at
roughly estimated. The general is about where the frame of a this point. Even those people who
rule is that the lower the pair of glasses would sit. are fairly good at drawing end up
position of the eyes, the more Normally the position for the drawing the base of the nose from
childish the face (See the corner of the eyes is about the eye line. Have a look at the
drawing below) . where the root of the ear is. But bridge of your nose in the mirror.
the more you get used to it, the See how it starts between the
more you can play around with eyebrows, depresses in between the
the positioning to make more eyes, and then sticks out.
exaggerated characters.
 Make sure this width is right.
' ', r------------.
''
''
''

7. The width of the lips is marked on the horizontal line for the mouth . Take extra
care with the eyebrows because it is easy to draw them uneven. The same with the
lips. If they were uneven, even a smile would look contorted. The chin is tapered .
The Real Type Character has a broad chin and the Exaggerated Type, a chin Finished!
concentrated at the center of the face. Be aware of the jawbone in the Real Type

Character. /~'!s-.,.N,'-~' A.'--"' -'1.'-. ~

)~p--~At.
'\ \
(~' ~ ~~5
~} ~

~- - --

lii•BJI
Once you get the hang of it, you can start the drawing from
the nose or the mouth . But make sure it doesn 't end up like
this one on the left. What is wrong with it? It looks distorted
because the head is too small.
 • •. , ··_""Pl"- ·-71'·H.f:1Jt~rl -·." .. · · ~

, .•. 1Diffe'[ent~Ways. to Draw .Characters' Expressions

, •t • Cross-Lines For Different Characters• Foreheads

• -.l.:t'11i.-' ••• • •

Exaggerated Type Simple Type Real Type

 Draw Faces from Several Directions.
- • ....! - - - -- ""'--& _,._., ~ •

In a real story, you have to be able to draw not just faces in profile but faces in all sorts of positions such as looking up
and down. The following views are drawn with the cross-line.
Below we have the basic set of head positions for the characters featured in this book. Once you can draw these, you can
probably create your own work.

Basic 1 (Frontal): Level of difficulty 1 Basic 2 (Profile): Level of difficulty 1

Asymmetry is most obvious in this position. The knack is to distance the base of the nose and
The width to the left and right of the vertical eyeballs further apart than you would first think. Take
midline must be the same. into consideration the height of the nose between the
eyes. The bottom lip protrudes less than the top.

Oblique from behind: Level of difficulty 3 Oblique left: Level of difficulty 2

Don't forget the thickness of the ears. Make Even though this is one that people can draw, it is
sure the horizontal eye-line remains level. also easy to get the perspective out. Pay attention
to the size of the eyes.
From below: Level of difficulty 5 From above: Level of difficulty 5
Pay attention to the line from the tip of the chin The positions for the top of the nose and the
to the eyes. The position of the nostrils is higher mouth are almost exactly the same. The angle of
than you would first think. the eyebrows changes the down-looking
position of the head. Refer to this position for
each character in the pages to follow.

Oblique left and right + From slightly above:

Level of difficulty 3
Take care with the size of the head . People tend to draw the
ears and the nose too close together. The drawing will be
----~ unbalanced if the head isn't thick enough.
Oblique left + From below: Level of difficulty 5 Oblique right + From slightly below: Level of
Once you can draw this , you can improve the variation in your difficulty 4
drawings dramatically. This angle must be practiced because it The inclination of the eyes is difficult to get
is commonly used . Make the curves of the eyes and the head right. Make the chin and forehead parallel. Do
parallel so that the eyes don 't droop. Take care where you draw the same with the eyebrows and eyes.
the hairline because it differs depending on the character.

Oblique right: Level of difficulty 4 From slightly above: Level of difficulty 2

This angle often appears in interview tests at animation studio This is at an angle so it is not exactly a full view from
companies. How the parts on the other side of the nose-line above. Nevertheless the nose and mouth are drawn
(the cheeks, eyes, eyelids and eyebrows) are drawn is very close to each other. Right-handers generally tend to
important. It is a good indication of your drawing ability. Pay have difficulty in drawing this position properly.
attention to the distance between the eyes and ears.
Different Ways to Draw Characters' Expressions

Introduction to Different Types of Characters

Which type of
characters clo you want
to clraw? The next
pages introduce the
basic poses for the
cliHerent characters.
 Characters• Expressions by Type/ Head Exaggerated Type A/Girl

This character is a mix between Takarazuka (an all-women theatrical company in Japan) and Gakuen

I (School Life) genres. Her traits are the exaggerated hairstyle and eyes. Once you have mastered these two
characteristics, you should have no problem drawing this type of character. Take care with her glossy hair, highlighted
lips and liquid eyes.

~ / // ~~ ~ The fringe is soft and wavy.

~ More than half of the eyebrow is drawn as one line. The

~~~ distance between the eyes and eyebrows widens out.

~~~~ The eyelashes are long and curly.

The eyes are big, partially hidden by the upper and lower
eyelids. Don 't draw the middle of the eyes. Make them
slightly droopy. The bottom halves of the eyes are heavily
highlighted to give her liquid eyes.

Loose strands of hair are also drawn. J

~ Quite a thin neck.

Heavily highlighted.
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/
/

The lips are

highlighted. They
have a plump
fullness .
The forehead
protrudes slightly.

The bridge of the nose is

long. Quite a prominent nose. ----------- ~

The bottom lip turns __ ~-- ~ --

I
-----
downwards slightly. The
lips look glossy using 1

shade and highlight.

J--
I l
The chin line is straight
not curved.

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-- -
I
 Characters' Expressions by Type/ Head lExagg~r.ated · Type A/Boy ,
•. - .'- ,......._).a..~;f~-~ ....... ~ ........ -

His personality differs depending on the story. He is flashy and tries to be cool but most of the time he has a comic
role. His droopy eyes are evidence of this. He is often up to something devious but his plans usually backfire. He's a
character that you cannot help but like though. He always falls for the leading heroine.

, / / The hair is parted in the proportion "3.

The lines for the eyes and eyelids are wide apart. There are definite
double eyelids. The lines for the eyelids and eyebrows meet at the brow.

The eyes are droopy and wide. About 1/3 of the pupil is hidden.
Concealing much of the lower part makes him look as if he is
smiling. Much highlighting .

~~ Drawing the bridge of the nose with a thick line makes the nose prominent.
~~

// ~ Make sure the nostrils are drawn differently from the girl s.

, , , , Thin, oval-shaped features.

Although the character is a boy, he has well-

conditioned bobbed hair. There are highlights in it. The corners of the
eyes turn downwards.
/
/
Hair is
casually
tucked behind

The mouth is quite Viewed face

wide with thick on, the chin is
lips. There is pointed
shading beneath
the bottom lip.
The eyebrows turn up
at the ends.

A prominent,
triangular Western
nose. Nostrils are
/
///
///// ")
't-
=====:::
;::n=o=td=ra=w=n=
. __________ _
The chin is slightly
thick.

The ears are thin

Draw the jawbone square. and pointed. Don t
forget the earring .
I -
I
 Diffe;ent Way~ to Draw Ch~racters' Expressions

Characters' IEx.pressions by Type/ Head Exaggerated type 8/Girl

-. - , - ·- . ·........... ' - ... ~ .._.,. • • • . .. .. - . . . ,I

She is naturally friendly and in most scenes she is smiling. Draw her with droopy eyes to express her cheerful, gentle

I personality. Her hairstyle is exaggerated because she is a Fantasy Genre Character. Don't waste time trying to figure out
why she has this hairstyle. Just accept it as on of her trait.

The hairstyle is her biggest trait. Strands

---- of hair curve back over her head.

Something symbolic like a bindi is on her

forehead for emphasis.

The eyes are droopy and positioned low on her face.

The eyes are very wide apart giving her a fish-like
face. There are sparkling highlights in her eyes.

Curly eyelashes are drawn on half the eyelid,

lengthening towards the corners of the eyes.

------ Are these drops of sweat? No, they are symbols.

\
\
\

/
/
The cheeks are full.
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Take care when

The lips are drawn drawing the hairline
with one line. The on the temple here.
nose and lips are
very close
together.

The nostrils are drawn with

a short line. The nose is
small and slightly upturned.

Don't forget the loose

strands of hair. They curl
inwards.

The hair is long and

Define the jawbone. fastened at the back
of the neck.
 Characters' Expressions by Type/ Head Exaggerated Type B/Boy

A cool Bishounen (Young , attractive boy). He has hidden subtlety and coldness. Express his androgynous beauty with a

I flouncy fringe and glossy hair. Like the girl, he has a symbol decorating his forehead. With his eyes positioned low, he
has the look of a young boy about him. But he is maturer than his appearance suggests.

The highlights in the hair indicate that the hair has been
slicked down. The hair continues down to the nape of his
--- neck. This character usually has dull blond hair.

_ His hairline is not drawn as one line unlike the girl's.

- His forehead is the same shape as the girl's.

Fierce almond eyes. The lines for the whites of the

I --- eyes stretch as wide as possible. No eyelashes.

--- Must wear earrings. Usually they are silver.

-- ----..:"
Thick lips. His mouth is wider than the girl's.

This isn't part of the

cheek. It is the
jawbone sticking out.

The fringe falls

gently to one side
and curls in.
Usually to about

\~
chin-level.

The bridge of the nose is

quite prominent but viewed -
face on this is not obvious. --
- -I- -
The corners are slightly
upturned in a grin. - -I- -
1

His earlobes are bigger

than that of the Type B
Be aware of the jawbone. girl's, but not particularly
thick.
 z-6 I

A lively, energetic girl. She often plays the role of childhood playmate to the hero. She is courageous and never gives up.
This character has exaggerated eyes. Take care to get the size and height of eyes right especially face on.

The lines for the eyebrows and eyelids are parallel.

Draw a definite eyelid line.

This part is a different color.

The eyes are drawn very large and one eye takes up about a
quarter of the face. The corner of the eyes point upwards and
out. The irises are heavily highlighted.

Lines are drawn to accentuate her faceJ

~ ~--- ------l The nostrils are shaded j

--- [The sides are drawn from this line. J
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I

The corners of the

mouth are slightly
upturned. The
shading below the
bottom lip g1ves the
lips fullness.
The bridge of the
nose is curved.

A small, prim
---
nose.

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There is a line on her There is a step in the

neck indicating she is a back of her hair. The
lively character. back of her head
protrudes considerably.
 2·6 Different Ways to Draw Ch~racters~;.e~~1i[{~~~7.: .. . ... , ..... (~~','~~

Characters· Expressio.ns· by.Typ~/ .~ .~ ·~·~ ·;·f;.;.:~t~·'''·' Exa.g gijl~teti·~~PJ.~~i~#y. ~··.:,~~;}:}?J

. .· · .·~---------_·t.l.-,.-.)w..._-.Jr.::.· · ~1"..a!~~iii

Out of all the boys featured in this book, this character has the roundest face. Like the girl, he is lively and cheerful. His
I energy is expressed in his large upturned mouth and sparkling eyes. He is quite mischievous.

The eyebrows start with several vertical lines. They turn

//" upwards and their distance from the eyes widens at the ends.
/
/
/
/

/
/
The double eyelid line joins the eyebrow above the
... "" inside corner of the eye.
;
;
;
/
/

The lines at the top of the eyes turn downwards. A

/ lot of the whites and the irises are visible. Make sure
to draw the whole eye.

_______ The triangular shapes at the bridge of the nose are

drawn for emphasis.
--- ---

A large mouth. The

bottom lip is
drawn with a
definite line.

Quite a long fringe. The

simple bunching of hair is
common in Anime
characters.

The chin is
slightly broad .

Lines are drawn

showing the hair
slicked down at the
The jawbones are clearly drawn. back.
 Androgynous, boyish and energetic. A diplomatically cheerful group leader. Draw her with nicely varied clear lines. She
often wears simple accessories that are connected to the story line in some way rather than as decoration. The lines for
the upper eyelids, eyebrows and chin are drawn in thick strong curves to express her liveliness. Her girlish femininity is
expressed in a natural way in the thinness of her chin and neck, the absence of the jawbone and the lines drawn beneath
the eyes. ·

The hair sticking up shows her energy.

The iris is vertically long. Her pupils are made up of several lines.

• • - ' / / The eyelashes are long and curve outwards.

••• The eye line is drawn thickly for emphasis.

"' "' A definite double eyelid .
/////
/

, Lines on the face express liveliness.

The nostrils drawn horizontally makes the nose look forward facing ,
' whereas vertical nostrils make it look as if it is sticking up. (Refer top. 62).

' Not particularly full cheeks. Rather boyish features .

The neck is thin

' suggesting fragility.
~ ~

There is shading
under the bottom
lip. The lips are
slightly thick. The Distinguishing her
mouth turns up at chin from the The eyebrows start
the edges conveying boy's, it lacks the off thick and thin out
liveliness. boy's breadth and towards the ends.
is pointed .

Bold contours from the tip of _____ _) _

the nose to the tip of the chin.

There is a break in the line -- - -- - ' )

at the end of the nose.

Soft wavy hair. It is a

natural-looking
hairstyle. Feathery hair
The chin line is conveys liveliness. No
boyish and straight. highlights.
 Characters• Expressions by Type/ Head . :·.:·: Si.mple Jype A/Boy
\ 1 • • .....__-::.• 1 ..,... 1 _.., •- ~·..-. _....._I _ • ._-- :.,_" •• •

The opposite of the "Fleeting Bishounen. " He is cheerful , lively, brave and tough. Draw sparkling eyes and a tightly

I closed mouth to accentuate his boyish youthfulness. The large, round jet-black irises emphasize his positivity and trust in
people. Take care to distinguish him from the character on page 54 who is also an Exaggerated type of the Ani me genre.
This is the simplest character in the book but getting his expression right may be quite difficult.

His boyish youthfulness is expressed in his short, messy,

unconventional hairstyle.

The thick straight lines of his eyebrows denote gallantry. Don't color the
eyebrows black because this would make him look like an old man.

Clearly defined eyes. He seems to be looking straight at you

because the middle black part is completely visible. Double eyelids.

The lines for the whites of the eyes do not cover the lower
~ parts of the eyes. The clear lines make the eyes wide open.

-- The bridge of the nose is drawn. There is shadowing at the end of the nose.

- Egg-shaped features . He is still a young boy

so there is a trace of fullness in the cheeks. The eyelashes make the eyes
look wide open.

No highlights in the
/
hair. If anything it is /
/

/
shaggy. /
/

/
/
/
The mouth is The broadness /
/

drawn realistically of the chin /

/

/
with 3 horizontal denotes /
/

lines. The shading strength of will. /

below the bottom

lip shows fullness.

An intelligent forehead.

) fr/
A small upturned nose. The
'--t-ip_o_ft_he_n_o_se_i_sd-r-aw_n..,.---' -- - ----
~ith a broken line.
~"'\_~

The ears are bigger

In profile the mouth turns than the eyes. They
down at the ends. are fleshy. They are
never pierced.

The neck is not

The jawbone is clearly
drawn too thin.
drawn.
 I

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 Different Ways to Draw Characters' Expressions

Characters• Expressions by Type/ Head Simple Type 8/Girl

She is quiet, and doesn't say much so you don't know what she is thinking. She is slight of build and everything apart

I from her eyes is drawn small and thin . She is well mannered and not rebellious. She is expressionless and
uncommunicative. Express her closed heart by drawing down-turned eyebrows and thin irises, and using a vague color
for her eyes. Her ears and eyes are not completely visible.

_ The eyebrows are far below the top of the head.

To give the impression of fine hair, divide it into fine tufts.

This is arranged neatly to express her good manners.

- The eyes are quite far apart. The irises are narrow. The top and bottom
parts of her irises are not visible. Draw a thin double eyelid line.

The eyebrows are close to the eyes. The thin eyebrows indicate a
lack of assertiveness.

Down-turned
eyelashes give her a
downcast look. Curl
the corners of the
I
eyes upwards.
I
l I

A small down- The chin is acutely

turned mouth with pointed.
a very short line
for the bottom lip.
The mouth is
The bridge of the nose is flat.
extremely narrow.
The nose only protrudes very
slightly.

A slightly upturned
nose. Nostrils are not
drawn.
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Keep accessories
The chin line is slightly simple.
rounded . The jawbone is
never drawn.
 ~
c~aracters· ·Exp.ress.~ons .by Type/ Head
• ~ :1 ~, :.'•':'".~ -~,~ • ~ ,. "' .( • • ~' • r"!..--'• t,-,
.
•"' • ..t'
Simple .,TYP~e1
·~
·B/Boy •
':..ol'l::--;.t . . •
1

A girlish, delicate, quiet boy. Like the girl, he is introverted, uncommunicative and self-effacing. Draw him with a lonely

I expression on his face as if he is always worried about something. His delicate nature is evident in the sharply pointed
features such as the cheeks, chin, eyes and nose. Draw his neck thin like the girl's. Out of all the characters featured in
this book, it is probably most difficult to distinguish between boy and girl in Simple Type B.

A conservative hairstyle.

Loneliness is expressed in the distance between the eyes.

/
The eyelid lines show the delicate skin of his eyelids.
/

/
/
/
/

~ Narrow irises. The outline of the eyes is angular.

~ The top and bottom of the eyes are not vtsible. The ltnes for
the bottom of the eyes are not fully drawn. The irises are thin.

_ Drawing only the beginning and end of the nose indicates

that the nose elevates sharply in between.
( .. -----------
-- ~,..,~~~(A very thin neck.
The cheeks are drawn with a thick line to make them look square.

on the brow
makes him
look worried.

A rather down-
turned, closed sad-
looking mouth.
Shading These eyebrows
lengthways makes are thick for this -
the mouth protrude type of

---)~)
slightly as if he is character.
about to say
something.

The bridge of the nose is as flat as it can be ----

In profile the nostrils are not drawn. ---------- ~ ~

The ears are rather

pointed.

There is shading below the

chin and under the hair.
 Characters· Expr,essions by Type/ Head Real Type: Shoujo Manga Genre/Girl
. . . .i·- . . . .,. . .\. ,.,.L.:i:: •~ ~-

Most important is the purity of her image because she is not of this world. Whatever is said, she is an unemotional and
strong-willed girl. It seems as if she is always staring far into the distance. She is gentle and speaks little. Draw her
carefree as if she is floating above this world untouched by mundane things. You must draw everything in fine detail. You
very rarely view her from below. But practice drawing her because she features in momentous scenes of grace and
resolve. When she faces downward, her eyes close slightly.

_ _ Draw the fineness of her hair. The carefully arranged

hairstyle indicates the young girl's virginity.

~~ The markings on her forehead suggest exoticism.

__ ,/,)A high browr._J_____________------

The eyes are not droopy. Draw them simply without
irises taking care to make them symmetrical. Think of
~ them as glass balls. Eyes with some of the top
concealed like this give the character a faraway look.

The lower eyelashes are drawn too.

Her nose are drawn small to express exoticism.

- Give the cheeks a girlish fullness.

Make the hairline

look quite realistic.

A small and plump ( Round the chin. )

mouth . Never have
the mouth open
wide.

A prim and slender

nose. ---

, , Eyelashes in the
corners of the eyes
tend to give the
character a downcast
expression. They curl
outwards at the
Never draw the jawbone. corners. They are
long and voluminous.
 Characters: Jl(pre~_sions;_by:{ype/'Head .- ·.. .· R,e~_klyp~.:. ~s-houjo- Ma.flg·a.Genre/Boy ,
'\, .. -~ > 1 ~-.. ~ j_.:....~~~~~)cl~ :t{~~~,._ "-~1,t .(,. :_~. ~~:::-:;._~ <-.<~
.... <' ::...,{ ' ~,_,;: ~ ...: ... _:~......:.1:<1._~1.:.:~;?~~~1'-~..,~ "i'... ~ .••li/ ,: .,__J 'i.~ -••• L. ,'.,,~ - ~ t'

The prominent nose and fine features suggest coolness and hidden gentleness. He does not reveal his feelings and

I actually he is shy. He is strong-willed and passionate. Often this character is haunted by the past. Express his sense of
responsibility and stoic nature in his broad chin and strong neck. He doesn't care for adornment so don't draw
accessories such as earrings. Don't put highlights in his hair.

Dishevelled long hair that he has run his fingers through . It looks as if his hair is
drawn anyway how but there are about three strands of hair that are made to fall
across his face and the rest is arranged around those. Voluminous hair.

There are lines on his face showing muscular definition.

Shading on the brow emphasizes the sharply chiselled features.

The eyebrows turn up and narrow out towards the ends. They
extend as far as the outline of the face.
11+---...:>~'

'>J~--
The eyes are quite realistic in shape and size. He looks mature because the
eyes are positioned high on his face and occupy a small proportion of his
face. Covering the upper halves of his eyes gives him a watchful stare.

The nose is straight and bold . Shading emphasizes its height.

- --.
.....--
A clearly defined long face.

Muscular definition of the neck.

The lips are quite full and

wide. The top and
bottom lips are clearly
drawn. There is shading The pronounced brow
under the bottom lip. between the forehead and
the nose makes him look
distinguished.

The nose is not exaggerated so

don't make it pointed.

Tight lips give him a down-

turned mouth. The ends are
drawn thickly.

A thick, solid neck. Slightly

thinner than the outline
indicates.

The hair hangs down past __L

the nape of his neck.
 Different Ways to Draw Characters' Expressions

Characters• Exp~e~sions by Type/ Head . ~ . ~R~~I !Y~e~ . Gam~. Genre/Girl

A gentle, cheerful girl who doesn't talk much. Her naivete is expressed in the large baby eyes. Draw her with flat features
and few contours, a small upturned nose and tiny mouth like a Japanese festival doll. Everything is rounded. The upper
parts of the eyes are slightly covered by the eyelids and this gives the face a positive expression. Take care not to conceal
too much of the upper eyes or the face will become severe and cheeky (Refer to the Anti-Hero/ine). It is best to imagine
her as someone you'd be happy to have around.

A slight depression on the top of her head.

The fringe falls slightly over the eyebrows. The

eyebrows are not heavily defined.

Thin eyebrows. The lines for the eyebrows and eyes are parallel, with the
distance between them the same from the inside to the outside corners.

_ The eyes are wide apart. The bridge of the nose is not drawn.

The circular irises are right in the middle of the eyes. Not
much of the whites of the lower parts of the eyes are
____ '- _ _ _ _ _ _ shown (If they were, the character would look cheeky).
Although her eyes are the same size as those of the Anti-
Heroine, they look bigger because they are not partly
hidden by the eyelids.

- This character always has a round face and chubby cheeks.

///[A long neck. Not too thin.

A rather down-
turned mouth makes The chin tapers
her look a little sulky. only at one point.
Don 't draw a line for
the bottom lip.

A small, upturned nose.

No bridge of the nose.
',l Round ears.

The mouth is drawn smaller than that of the Anti-

Heroine. The lips don 't protrude. This character
always has short
hair. Fine locks of
hair are drawn to
make the hair look in
good condition.
No lines on the neck.
- - -
i
I

I
 Characters• Expressions,by Type/ Head Real Type: Game Genre/Boy
~ "'.~.'~. ·-1·~·

Although he is cheeky and sarcastic, he is basically a good guy. He is slender and athletic but doesn't fair well at his

I studies. Contrary to expectations he is easily moved to tears and has a heart of gold. He often has sisters. Generally
speaking , draw himwith the image of a band member in mind.

Fleshy eyebrows on the brow.

Almond eyes. He has a cheeky look about him because the whites at
the sides and lower part of the eyes are visible. Cheekiness is easily
expressed if a large area of the whites of the eyes is visible below the
, irises. No highlighting . The eyes are positioned quite high on the
face . Viewed from above the outer corners of the eyes turn up.

, The ears are not really exaggerated.

A prominent nose with the bridge

drawn with a thick line.

A fairly realistic hairline.

A big mouth that suits

a grin. Never draw the The brow protrudes
lower lip. further than the forehead .
~ ~ ~~ ~ ~
,E-y-el-as-he_s_a-re-n-ot-d-ra-w-n.- - ----- ) - qy
These lines are drawn to make his nose - - - )

look bony,.---------.::/ /~~

Large nostrils indicate strong
emotions.

A thick masculine neck. I

:I
Punkish earrings.
The nape of the neck is boldly drawn. '
I
 Characters· Expressions by Type/ Head Real Type: Game Genre/Anti-heroine

Machinery/gadgetry on her body is her trait. She has a melancholic, lonely expression. Let her speak through her eyes.

I Usually she has no parents and falls for older men. Even forward facing , the eyelids cover her eyes slightly. The partially
concealed irises indicate her lack of openness.

The fringe falling across her face indicates her immaturity.

Eyes upturned at the corners are positioned quite low on

her face . Her irises are longer vertically than the
Heroine's. Her insolence is indicated by the large part of
the whites of the eyes that are visible. Imagine eat's eyes.
I I I

- The eyes are well defined with lower eyelashes drawn.

- -I- -
___ ----- -1 Very slight definition of the bridge of the nose.
1 This is basically the same as the Heroine.
1
The face is shaped like a smooth egg .

..J-------------( A pointed chin. ) I Her hair is messy and uneven

-- --- - suggesting that she is not
looked after properly.
1

The mouth is slightly

larger than the
Heroine's. It is small,
tight and down-turned.
The lips are not drawn.

·I

I-
--
I

Machinery is attached to her body so

Bobbed hair with her
these kinds of marks are very common.
 I
. I
 TOSHIO KOBAYASHI

Name: Toshio Kobayashi

Birthplace: Gifu Prefecture, Japan
Date of Birth: 18 December 1973

After graduating from technical college, Kobayashi started

working at a Games company where he is now working on
Character Design for an original animation.

The most important thing when you are drawing is the

feeling . How are you going to express what you are
thinking? That is what counts. Your drawings openly express
your likes and dislikes, your personality and emotions. You
are not really aware of yourself when you go about your daily
life but drawing makes you take a look at yourself.

I entered this profession because ever since I was a small boy,

I had aspired to become an artist. It all began twenty years ago
one day when on television, I saw an old man painting on a
street corner in Europe. That's when it all started and why I am
drawing now.

There are no shortcuts to improving your drawing skills.

The more you persevere, the better your drawings will be. Have
a go at drawing everything around you, no matter what. Copy
the drawings done by skilful artists. It's OK to do it just for the
fun of it. Do it over and over again until the research you've
done pays off and you have the material to draw what you
like. Observe everything in your everyday life. Watch everything
around you: people's expressions, their gestures, the way they
talk, the way they move, the way they dress etc. Do the same
with things. Observe the position of the light source and the
shadows, colors, shapes, size, textures. Before you know it
you will find yourself watching everything without even
thinking. Watch, think and draw. The more, the better. Both
quality and quantity are important but the most important of all
is the feeling. If all that you draw is void of feeling, it is easy
to get into the doldrums. If you do end up feeling like this, you
must start from nothing again and reconsider everything, all
the work you have done over the years, the pictures you like,
your sketches, rough drafts and rough illustrations.

Lastly, I want to say that I lack both the technique and

knowledge to draw a tenth of what I imagine. But an amateur
can become a professional. And I am thinking more like a
professional now than ever before.
Chapter 3
Drawing Bodies
 Think in polygons when drawing the whole body, just as you did when you drew the heads. In the picture below the body

I is drawn as boxes. Though I say it again, it is the quickest way to improving your ability to draw in three dimensions.
Once you master the basics properly you can go on to exaggerate the charactef design and produce good drawings.

1. 2.

Neck

Shoulder joint ~

Chest (solar
plexus)

WaisVhips

Groin/thigh

------ Knee

-- Ankle

-_Toes and the sole

of the foot
1. The body is divided into moving parts (mainly at the 2. Adding on the arms. Naturally, they come out at
joints). Roughly speaking, the body is separated into the sides. The knee is joined at the front.
the head, neck, chest, waist, buttocks, thighs, calves Professionals draw the knee joints as circles in
and feet. Make sure you divide the chest into two. If the their rough sketches. Take care to get the
chest is struck, the solar plexus caves in. So think of it thickness of the instep and toes right. Draw the
as a large joint. Always remember which direction the
front part and sides of the body are facing.
height of the instep and add the moving part for ·I
the toes.
 4.

...
' Elbow

Back of the
hand

3. It is helpful to think of the ankle and shoulder 4. Think of the arms as moving on balls. Basically,
joints as balls as if the human body was a robot. shading depends on the direction of light. Refer to
The soles of the feet are not flat but at an angle. the shading on the flanks of (1 ). Remember that
The shoulders don't just come out at the sides. . even the fingers should be shaded. Just by looking
They are connected to the neck at an angle at the at the shading in (4), you can see how getting a
front of the body as well. Note that the calves feel for shading using (1) improves the drawing.
bulge.
 .
....
....""'
-
~·
•• •
...._..._
••
__ ~-~
4
""-• ......

It is helpful to draw cylinders for the curved parts of the body such as the arms, hips and ankles. In the last section, we
covered basic shapes. The next step is to think of smooth curved surfaces.
Take care when drawing cylinders because the curves change depending on the direction of the body. You don't have to
start with curves when you are drawing something. But it enables you quickly figure out the physique of the character and
draw it realistically from any angle. Look at the following explanatory drawings showing you how to draw the body from
above and below.

The view from below

Be aware of the eye line. The further away, the smaller the Start by drawing the body in
object becomes. squares.

The view from above.

The larger the surface area of the
circles (the cross-sections in black),
the greater the angle of the views
from above and below.

0 0

X
X

I I
\ I
I I --------------------

Both the belt and the shoulder blades are parallel

to the black cross-section. Always draw with an
awareness of the cross-sections. If you don't,
you end up with a superficial picture.
X
 Draw Cylinders from Any Angle.

Practice drawing these cylinders even if you can't see the point of it yet.

I The curved edges and the pattern are always parallel. Once you can draw a good circle without using a compass, you are
ready to draw more exaggerated shapes.

ililili!,,;IJIII'n llllli '11'111111111111,

II
 Drawing Bodies

The Direction of the Body

1. 2.

To practice three-
dimensional drawing ,
the angle combines
perspective and space.
Although this is a
difficult angle to draw,
it is good practice for
drawing shapes and
considering the
thickness of the body.

Draw one hand curved

to study the basic way
of drawing. This is
because the wrinkles in
clothes are affected by Draw the other hand so
different poses. that you can see it all.
Don't draw it rotated
back or held up in the

Draw the feet by

imagining how the
figure is standing on
the floor/ground and
the whole using the
image of the feet as
Don 't draw the boxes.
character standing
upright. Put more
weight on one leg than
the other.

1. The frontal view (Basic) 2. The view from above (Oblique view from behind)
Game and Animation is not just the work of one You must be able to draw things from the down-looking
individual. It involves the joint efforts of a group of angle. Often you need to set the scene and show your
people.Therefore everyone must be able to characters in their environment. In directional terms,
understand the characters' expressions. This front the view from above is used in scenes where the
pose is a standard one that everyone can work from. character is depressed. Drawing the character from
behind increases the sadness of the scene.
 3. 4.

Compare suclh things as

the size of the head, the
----- - appearance of the neck and
the shoulders, and the
length of the arms with the
frontal view in (1 ).

Don 't forget tlhe parts

that are not visible in
/ the frontal view such as
the underarms.

... Draw the curve of the

waist the opposite way
to the way it is drawn
from below.

I
I
I

There is some
exaggeration. The legs
are much bigger than
in the frontal view. The
parts of the body
nearest you are the
biggest.

3. The view from above (frontal) 4. The view from below

As in (2) this pose is often used in explanatory This view is used to emphasize the character's
scenes in relation to the character. size and strength, and to express exultation
and attractiveness.
 A Girl's Body
-,

.I Make sure you draw girls' bodies soft and smooth, not hard looking. In the pose below, take care to get an extremely
natural pose with the knees close together, the feet not wide apart and fists unclenched.

Always be aware of the sides and cross-sections The midline for the eyes.
(the dark shaded areas) when you start drawing.

The line for

positioning the eyes.
The midline for the body.

-- The midline for the body.

The midline for the head .

U
8
Q (A slender neck

Narrow shoulders. --
The line for
positioning the
A smooth line
from the hips to
the thighs.

d~ \
\
\
... ... \
\
(A full bust. ) 1
I
''~---'""" I
I

'[Slender arms. ) I
I

I
I

( A narrow waist. )

Small feet
compared with
the boys'.
Little definition of
(Slim ankles.}-----
--- the calves.

I
 A Boy•s B_QdY

Make sure you draw the boys' bodies with muscular definition. In the pose below, the character is drawn with one hand
I on the hip, one fist clenched, the knees opened outwards and the·feet facing outwards.

----- ____ ------- The lines for positioning the eyes.

The midline for the body.

The midline for the face.

The midline for the face.

The midline for
the eyes.

( A thick neck.

Muscular shoulder joints. Muscular upper

arm.

Muscular chest.

Knees open wider

than the girls'.
Muscular calves.

~--- --- { Big feet. )

 Drawing Bodies · ·

She is a descendent of the traditional princess dressed along the lines of Takarazuka costumes. Endow her with plenty of
accessories such as braids, boots and gloves. Everything is close fitting. She is extremely exaggerated, drawn with a
very, very thin build and extraordinarily long limbs. She is usually in Gakuen stories, so it is vital that she wears a
uniform.

Narrow shoulders, about

the same width as the
Puff sleeves making her look
bangs in her hair. An
feminine and flamboyant.
extremely slender neck.

Braid on the uniform

An open collar
emphasizes her
femininity. Trimming
around the edges.
Uncharacteristically
large breasts so there
are many wrinkles
across her chest.

Very narrow waist.

Almost no hips.
Horizontal wrinkles
- caused by the pulling of
the top buttoned at the
front. The limbs are straight
lines with no contours.
The knees are shown
as the vertical lines.

The gloves, like the

boots, are designed to
fit tightly. The gloves
are slack around the
wrists like the boots
are around the ankles.

Long hair is prerequisite

for a Bishojo character. A skirt is the standard
uniform for this
character, a pleated
It seems odd that she wears boots mini skirt. Make sure
(even in the summer) with a you draw the pleats
uniform , but she does. They are properly in the view
simple and fitting . from below.
The boots have a slight heel. Slack
around the ankles, expressing the
slenderness of the ankles.
I

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I I I I I
I -
I I I

I
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 Orawing Bodies

, I I. , . I I • ' :I

Asoft uniform with a stand-up collar. The design with details such as epaulettes 1s remin iscent of military uniforms.
Visually, it is more in the style of the Nazi uniform than the Japanese school uniform. Physically, the character has
extremely long limbs like the girl, and his shoulders and hands are not masculine. He is a Bishonen, with a slight build
and small chest.

He has the standard

Hair down to his back. His hair
haircut for a Bishonen,
is not the same length all over
straight hair with
but shorter at the sides.
highlights.

A smart stand-up collar. Quite a

slender neck. His lithe body is
emphasized by having a
ZIP fastener mstead of
The epaulettes follow the
buttons down the front
curve of the shoulders.
of the jacket
~ Small shoulders.

The jacket is close fitting

around the waist.
Horizontal wrinkles show
the position of his waist
For a boy, he has a
feminine pinched-in
waist.

Trimmings on the cuffs

matching the epaulettes.

contours of his calves.

l I '

1 The outline of the pants

Horizontal wrinkles above follows the contours of
the turn-ups of his pants. the calves. The pants are
baggy around the
ankles, showing the
slenderness of the
 a

I
 •
·
•
Exaggerated Type ·IB/G!tl
• ' ~·
••• • :...~...._ • - • ~ _..,. - ~'
.. c

t:' .i:..l'A
•

b~
j

The ethnic clothes she wears are South American or African in style rather than Asian. Despite her clothes being

I voluminous, she has sex appeal because quite a lot of her body is exposed. Give her several flamboyant accessories.
Make sure other items she is wearing are co-ordinated with this kind of ethnic patterned garment. Otherwise it will look
messy. Her body is drawn with smooth lines showing her fem inine contours. Her trait is ankle-length hair.

Shade under the folds

across her chest to show Slender collarbones. In
the thickness of the the view from above.
material. showing some cleavage
gives her sex appeal.

The shoulder blade line.

Take care to draw the

hair so that it looks soft
and in good condition. Matching pattern on the
Draw strands of hair, not bracelet and the clothes.
- just the outline.

Several slight wrinkles

around the waist. The front of the dress is
open quite high,
revealing some of the
lining inside.

Wrinkles following
the body contours
from the buttocks
down to the thighs.

Co-ordinate the shoes

with the dress. Soft
Folds in the material I
fabric shoes are best
below the knee. In the
suited to her image.
view from above,
draw oblique lines to
show the position of
the knees.
 I •

- _I

- I
I

-- I
 ~f.;~ .
Exaggerated iTY,P.e B/.Bov ·:.~ ..
~'L -~

The costume is drawn in the style of the Visual genre. Pay attention to minute detail in this character's dress because he
is stylish and flashy (for example, the four buttons on his jacket cuffs, the flouncy fringe, two earrings in one ear, the
leather shoes with a slight heel etc.). Tied back at the nape of the neck, his hair flows very long down his back.

Short horizontal lines across

the seams make the jacket
look tightly fitting . The tie is worn properly.
Never wears a bow tie.

Horizontal wrinkles
showing the position of
the waist. The coat has
a pinched-in waistline.

The jacket buttoned at

the front pulls the
material forwards which
gives rise to lots of
horizontal wrinkles.

Like a uniform, the shirt

cuffs peep out of the
sleeves of the jacket,
looking sophisticated.
A back slit in the jacket.

Only a straight, vertical

pressed crease down
Pay attention to the the front of his pants
wrinkles in the pants. The since the material is soft
turn-ups of the pants are but heavy.
baggy.

A pressed crease down the front of the Never ever show socks.
pants. There are big wrinkles at the knees The pants are baggy
because the pants are made out of soft enough to rest on the
material and are baggy. shoes.
No definition of the calves.

Lines indicating the good

quality of the leather shoes.
 , I I. , . I I.

This character is lively, healthy and sexually appealing. She is quite loud wearing tight-fitting torn jeans and a
bikini top with a transfer lip-shaped tattoo on her upper arm. Draw her with large breasts and a pinched-in waist.
Her legs are smooth and slender from her thighs down to her calves. She also has slender ankles. Her jeans are hipsters
that reveal her navel. She is slight of build so draw her elbows, neck and collarbone small. Pay attention to detail such as
the ties of the bikini top.

Give softness to her full breasts.

The line at the breastbone shows 1\W~~~~~~~FhWJ

the thinness of the skin between A line showing the soft
her breasts. skin of her underarms.

A line showing her shoulder

muscles. Slender shoulder blades.
Don 't forget the neck muscles.
Darts under the breasts
and at the middle of the
.. bikini top to show the
The stomach line shows
her feminine softness. fullness of her breasts.

The line down her side

doesn 't join the hip line
but goes a little way
towards the stomach.
( A cute navel. )
Wrinkles in the jeans indicating
A thin elbow bone. Take a flat stomach. Take care when
care when drawing the drawing the wrinkles from
direction of the elbows. above and below (See the next
page) because they look
Don 't draw the top of the jeans as a different depending on the
straight line. Make it curve around angle.
the contours of her stomach

The tears should curve

The seams of the jeans are drawn around her thighs. They
inside the outline. express her liveliness.

Bold lines for the buttocks. Draw the

spine curve towards the buttocks.
Lines showing the
contour of the knee in
the tight-fitting jeans.
Wrinkles behind the knees.

/
J
The ankle bone.
Her ankles are thin so
the bones are visible.
/
/

- She is the active type so her shoes

are flat slip-ons.
- I a

o I
Draw this lively joker with a rough and casual style. He has thin legs with his thighs and calves about the same
thickness. Dress him in simple, fitting clothes without complicating his dress with accessories The short-sleeved T-shirt
next to his skin is thinner than his leather jacket so put lots of wrinkles in it. Imagine him as an agile , slender
Shounen always on the move.

No fat. so the skin is

quite tight over the
The line on his chest shows that he
collarbone.
is muscular despite his thinness.

He is a young boy so
his shoulders are not
broad .
I
I

He has muscular
arms so don·t draw
them too thin.
I

Take care when

drawing from above
and below because the
pockets look different
depending on the
angle.

He doesn t wear a belt.

His buttocks dont stick out

much.

The back pockets and side Masculine with a

seams have double clenched fist.
stitching.

A zip to adjust the jacket

sleeves.

A curved outline to show the

calf muscles.
 - • • ' I'" . - ,.. I~ "'j !"' ;- r ' ' •t " ' "'

. · Drawing ·Bodies ,

I ' I' 1

When you are drawing this ethnic dress, you must consider the total design of the shoes, earrings and clothes if you want

I it to work. You must have her co-ordinated to show that she comes from a very different world from that of the Heroine. If
anything, draw this type of character as gender neutral without emphasizing her femininity. Her dress must be designed to
enable lively movement.

Earrings expressing her

femininity in moderation.
Accessories are often
related to the story line.

Seams on the shoulders.

The lacing across the

Slight fullness of the breasts ~ chest is an effective way
shown by the lines. to make the clothes look
ethnic.

The top is made of thick

material so there are
few wrinkles in it.

, Rather than a belt, it is a

sash around her waist.

Don 't define the hip line.

The contours would not be
obvious because she has a
small buttocks covered by
thick clothing.

Wrinkles showing the

contours of her thighs. From the shoelaces and
seams, these look like
hand-made tan leather
shoes.
 I .-

-,--
/-
I
\)
I
{
I
!
I
You have to try and make costume look real when the character wears such a complex original design that you
can't buy on the streets. This character is quite muscular so when he wears something made out of thin material there will
be wrinkles showing his muscular definition. He has a lively personality and must be able to move freely in the clothes.
So simulate how his clothes would feel by asking questions such as "Will he be able to move if I tie it here?" and trying it
out yourself. With the sash and laces, make sure you draw the whole thing properly from the knot to the ends. If you make
the ends so short that he wouldn't be able to do them up, you lose the realism of the character.

I· I
--- -

His shoulders are wider.

than those of Type B. The
shoulders aren 't sloped.

Wrinkles showing the A Japanese-style jacket.

, contours of the shoulder _ Don 't have it tightly closed
/ blades. across the chest (because
he moves a lot). Strong
lines for the collarbones.

The waist is not narrow .

.I '------------'

"" The hands are covered.

" Watch period dramas to
"" The seams at the
front and back are not - study this kind of covering.
straight because of
the thin material.
Do not mistake this as the
knees sticking out.
Instead, these are folds
' ' Wrinkles showing the created by the slackness of
the pants. Draw several
pinched-in waist.
/ wrinkles showing the
/,.,/"' I thinness of the fabric.

Show the muscular

definition of the calves.
The tan leather shoes But, remember he is only
are tied at the ankles. - - _____ L a boy so don't make them
Don't make the ankles I too muscular. Gaiters are
too slim. tied tightly with laces so
don't draw too many
wrinkles because it would
make them look loose.

-- I - -
I
..
 Simple Type B/Girl
• I

She is often used in Gakuen stories so you usually see her in a uniform. It is best to practice drawing the several

I varieties of uniforms. The blazer is more fashionable than the sailor suit at the moment. It is safer to avoid certain fads
such as loose socks because they will go out of fashion too quickly. She is a Shojo, thin and slight of frame.

She has exaggerated

narrow shoulders. A thin
neck. She has trimming
Check out the real thing
around the collar making
before attempting to
the jacket look like part of
draw such items as the
a uniform.
ribbon .

Face on there is almost no

definition of her breasts. The jacket is close fitting
to emphasize her
slenderness. Draw the
, jacket buttoned up and
include the buttonholes
too.

Don 't forget the

decorative buttons.
The standard uniform is
a pleated skirt. Draw it
short.
She is a young girl so it is
best to have no hip
contours.
', Her thighs are almost
' straight lines and about
the same thickness as the
The line shows the knee calves. Her legs are really
sticking out. long. Draw the height of
the body 7.5-8 times the
length of the head.
White cuffs peep out of the
blazer sleeve emphasizing
the uniform's cleanliness. Almost no muscular
definition on the calves.
The socks come half way
up her calves. They are
white.
She is a student so she is wearing
loafers (leather shoes).

- -I- -
1
 Simple Type B/Boy ~
- '

Exaggerate his physique making his shoulders narrow relative to the size of his head so that he looks as if he has a
feeble constitution. His pants are almost straight, showing almost no muscular definition. Although he is usually of
junior high school age or older, it is better to imagine him as having the slender build of an elementary schoolboy.
Take care when drawing such details as his belt, the belt loops, pockets and buttons.

Make sure that the collar is stiff.

Draw it with a straight line. Not a thick neck. It is
thin like a girl's.

The seams at the shoulders.

The wrinkles down the back

of the jacket show his
pinched-in waist and the
contours of his back.

The shirt cuffs peep out

of the jacket sleeves.

The seam down the back of

the jacket. The jacket splits
just below the waist. The
trimming goes all around
the edges. Delicate, childish hands.
''
''
''
''
'
A line to show the elbow The wrinkles around the
sticking out. knees are a wide V-
shape. It makes the
vertical crease above the
knees look a little
bunched up.

Wrinkles showing the

slackness at the turn-ups
of the pants.
The crease in the pants
is straight because of
the stiff fabric.

0;
 -- I --.
I

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--
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