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Shojo Fashion Manga Art School How to Draw Cool Looks 4 and Characters Trene Flores ‘Shojo Feshion Manga Art School. Capright © 209 by ene Flores. Manufactured in USA, Alright reserved. No par of this bock may be reproduced any form or by any lecronic or macharial means including information sterage snd etseval ystems without pormission in \erting om the publisher except by a reviewer who may quote brief pas- {agenin review Published by IMPACT Books, an mpvincof Fai Mais, ine, 4700 Ean Galbraith Rose, Grernt, Ohi, 45236 (0) 289-0963, Fst Editon, media Ioesl bookstore, sr-supplyetore or vat ur at Ou website ‘i esta com Benw s432 DISTRIBUTED IN CANADAGY FRASER OIRECT 1 Armstrong Avenue Georgetown, ON, Canade L7G 554 Tel 774817 DISTRIBUTED INTHE UK. AND EUROPE BY DAVID & CHARLES ‘Brunel Heute, Newton Abbot, Devon, 7012 4P, Englone Ta (44) 166 32820, Fo (14) 1626323319 Emel: postmesterDdavdandchales. co.uk DISTRIBUTED IN AUSTRALIA BY CAPRICORN UNK P.O ew J, § Windor NSW, 2756 Austra Tek 02) 4577-3555, Lary of Contes atlegnginPubeion Data Flores, reno Shojeloshion mange arscheak howe dra exo! ooks and characters Irene Flores, Tat, leche index ISBN 9751-40061-180:3 (bk. alk paper) 1. Comic books supe ett. lapan Technique, 2. Cartoon characters lpan 3 Figs daving-lechoue, 4, Clothe and dross ina Tile ii Title: How to draw coal looks and characters. Neci7éa 5." 68 2008 Pai Sd 2009016085 METRIC CONVERSION CHART conver TOUTE e Centimeters 254 comm oo ABOUT THE AUTHOR Irene Flores was bom in 1982.n the Philippines and currently lives end works in Californias central coast She started her career in 2004, co-creating and illustrating Mark of the ‘Succubus for TOKYOPOP Inc. Irene has illustrated "Weekly Weird News” for the Princess ‘Ai: Rumors From the Other Side anthology, and "Right to Left, Back to Front" for WildStorm’s Welcome to Tranquility. She is currently illustrating projects for WildStorm Productions. Visit Irene's web site at wwwibeanclamchowdercom. cs ACKNOWLEDGMENTS «gupwith my faling and for putting uF Ay, thankyou Pi other owes aways tere ‘harksto™m rn chld paving. Thar sywosk done. And my ftom chit iI me to. get my WO wo reall eS nidertl Krsanne MeSpadden, who 1021 goes to the wor DEDICATION I"dlike to dedicate this book to Mart Fa gotten very far without her Life Dr Hack; Susan Baldwin; the amazing in my life; and my family and fien loving me as the artistic hobo | am Introduction 6 | Tools and Techniques 8 Basic Equipment # Line Weight # Add Color 2 | Drawing Bodies 16 The Difference Between Guys and Girls * The Arm Bone's Connected to the Shoulder Bone * The Leg Bone’s Connected to the Knee Bone * Hands * Feet * Drawing From the Inside Out % Body Types +* Putting People in Poses * Action Poses * Putting Your Poses in Persp 3| Drawing Heads and Faces 34 Basic Structur * Nose % E % Eye Shape and Structure + Mouths 'S +& Facial Expressions * Hair 4| Drawing Clothes 58 Fabric 101 % Shirts # Sweaters * Sweatshirts Blazers and Long Coats + Warm Coats * Pants + Shorts + Swimwear * Skirts #* Dresses + Hats + Gloves and Mittens % Scarves + Socks and Slippers % Sensible Shoes * Heels + Boots * Purses and Bags + Jewelry, Glasses and Other Fun Accessories 5| Cool Looks, Step by Step 98 6 | Setting the Scene, Queen of Drama % The Sportswoman Step by Step 128 Happy-Go-Lucky + The Socialite * Girl Next Door * Understand Perspective * The Skyline # The ‘The Independent + Well-Balanced * The Famed * Classroom + The Coffee Shop * Bedroom Chic Pseudo Punk * The Solitary # Two Friends * Group of Girls * Groupof Guys * A Couple oe ae “@?- . Introduction Even though your has to be root focus on how ‘move on to the fun stuf, Clothes, like anatomy, have some funds ances that affect the way they look from the seams famentals as well, certain physical Understanding how they're c tothe cut ofthe garment to madle—can affect how clothes. structed — the textiles from which they're appear After we've taken alook at how to draw realistic clothes, we mnpact that they make when our characters are wearing them Cy Ser anc crawing clothes go hand in hand. Sometimes, certan che, (one outlit throughout an entire series, Their clot their personal can see the eating charac acters only have thes can be a good indicator of lity before they even utter a word, after drawing your characters and ereate 8 world to putthem in, Yo Finally, getting them dressed, its time to ur well-dressed characters need somey (F their own rooms, Sotun the pages akeady, and get to drawing! place to go, after allbe it the local hangout Tools and Techniques Walking into an art store can be a bit overwhelming. There's a wide array of options, and a lot of tools with subtle variations that can mean the differ- ence between success and failure in your work. This section is really just a list of what I use and what I use it for, but there are many ways to go. you're looking for a start or just some new ‘ideas, the following pages show what ve found works for me. Basic Equipment ALL YOU REALLY NEED ‘The tools named here aren't absolutely cents IS PENCIL AND PAPER Jong.es you have a pencil and paper, you can ee Don’t get overwhelmed with all getsome drawing done, But these tools will help make Bei cit ot the process of creating illustrations and comics easier ait and faster. tot all you really need is a | pencil and pape. MECHANICAL PENCILS Mechanical pencils are great since you don'thave to keep, ‘sharpening them, and you can switch types of pencil leads. “The Ohto Super Promechais heavier near the tip, The weight allows for more contr WHICH PENCIL LEAD TO USE? Harder pencil leads are classified as H, while softer leads are classified 5 B,The harder the lead, the lighter the mark. H leads are easier to use for drawing graphic novels. The lines are lighter and they don’t smudge as much as the softer B leads STRAIGHT EDGE Atriangleisa step up from a typical ler htallows for perfect ninety-degree angles, which are handy for raking comic book panels. ERASERS. Akreaded rubber eraser eliminates the rest of eraerlesvngsItgets dy very icky though, expecially you tend to ease aot you use something ike a vinylereer ute a cheap, wide dry paint. PAPER brush to brush away the erserleavings. Tyavariey of paper types to see which Iewon'tsmudge yourart ike using your Works for you. prefer Strathmore’ 300, hand can, Series Smooth Bristol board, Ithas a smooth surface and the thickness to handle inks and a other media. QB Oa Ko) @ GEL PENS The Pilot Hi-Tec Cis refillable gel pen with various nb sizes. The ink lows smoothly, and doesn't cot, but the drying time isn't very fast. its great for drawing the straight, crisp edges of buildings FELT-TIPPED PENS Fel-tipped Pigma Micon pens also have different-sized nibs and ‘are avallable at most art and erat stores. They cry quickly and the inkrarely, if ever, smudges. PERMANENT MARKERS Permanent markers, such as Sharpes, are aso easily foundin stores, Just remember to use them ina room with good ai i lation Brushpens can create ines of varying ‘depending on how much pressure you apply while inking, BRUSHPENS ‘Abrushpen is exactly what't sounds like, {aninking pen with a brush tip. Different brands have different bushes, and prices range from $13 to 840 or inking and fill 0 large areas Hera’ another type of Kuretake brushpan wth ah Ke uzoh ble—uhich i good news for your wallet isthe Kuretake refi c apactage of fue AS Line Weight the width and thickness of ine art. Addingline weight is more of a finishing steP, after you've finished the initial inks ‘variation gives an image a sense of three-di (Yo ine weight refers to ae ality and lighting, With clothing, itcan give sens of texture, as well as showing differences in types and weights of fabric, Overall, it makes and more finished. GET STARTED ADDING LI! wl ir NE WEIGHT Lets start wth ths nea, nked wth 03 Miron pen @e- ®g ona drawing Line imension- drawings look better {DD TEXTURE sinh aan ec Feral son cine eh gh ioetenseonighghe lsat oa Vr PLACE SHADOWS The points where lines meet are abit more pronounced, Thisis also the time to add time to add shadows ‘beneath the handl and in the deepest folds in the fabric. eoepane THINK ABOUT THE LIGHT SOURCE CREATE DEPTH ‘The light source comes from above and tothe left, so add more Emphasize objects in the foreground with weightto the areas that should be in shadow. Rather than filing thicker lines. This makes the fringe on the in the shadowed area on the pants wth solid black, use vertical scarf much more pronounced compared lines that gradate from thick o thin as the shadow goes from with the books onthe lade dark tolight . ADD MOOD AND ATMOSPHERE The tiny sibome flocks aed to the fe! ofa very cold, windy day. Adding some thicknasst0 the eracksin the ledge shows imperfection and texture. Dark shadows banaath the lecige give the top railing width and make it ___ look more solid and cemant-ike Add Color ‘You could certainly leave y' four art black and white, but color adds that extra litte bit of finish to your drawing ‘Color can completely change the mood of a Picture right, saturated colors give off a happy vibe, but desuturating and subduing those same colors makes your picture much gloomier Here is my process for coloring using @ computer program. Although Icolor digitally, these same prin- ciples can be applied to traditional media, INKING Here isthe inked line art, ADD A COLOR BASE 2 Gomera Ole line art, creating a flat color base. CREATE DIMENSION AND INTEREST Now choose colors for the shadowed areas—ty colors that are a few shades darker than the initial lat colors. You'll want to add a few more colors to the face to give it dimension and interest. | used a cifferent shade forthe lower lip andthe skin around the eyes to give them more interest. ‘Add color to the eyes themselves. ‘ADD FINAL DETAILS ‘Adda highlight the hai not white, but something in the same color family a the hat, only much ightor. There re also small points of white inthe eyes to hint at light reflee- tion, | added white beneath the lower lashes, too, as stylistic coloring choice, Add clothing pattems and designs, end your drawing now has your ov style. Qs e WY ap 3s cis) f ‘The human figure, in all ofits movements and shapes, is consistently one of the most difficult things to draw. While long-limbed, narrow bodied characters are one of the most common types in manga, different styles can resultin stouter, more muscular or more full-bodied characters. Regardless of what your particular preference is, the best tool for drawing humans is « good under- standing of human anatomy. This section is meant to give you a start in that direction. It discusses the proportions to keep in mind when drawing char- acter, the physical differences between the genders and provides tips for dealing with trickier body parts like hands and feet. For a more in-depth guide on drawing the human figure, look for the many books dedicated solely to the subject, or just go out and draw people! 17 av ee The Difference Between ; Guys and Girls Areal life figure might be I prefer a slightly exaggerated comic book style with ® longer limbs. Sr average, make figures approximately eight heads tall-The female figueeishalf head shorter than the pate yet her heights stil about eight ames the engi of her head. Pease este Se aes eee urmmerarercemovomcumunoom eaentsnnern te” ores) des =A me ae are broader than a girl's. Looking at the Pee ee se imronmraronmetesiwmnntcmghctosrtod Sciuteegclgegacr ‘The arms on both figures are: = Dr caret octeews oe ee eam eee ceeds eanamuseatt the leg to the ankles. ° shy above ne ating sia meat an wh stom the Thelog on bahar ng thn anager pann btn oor legs and arms are pretty comman in most comic books * 18 KEEP YOUR HEAD ON STRAIGHT ‘The neck and head are centered between the shoulders, AND NOW FOR A REAR VIEW The back muscles ofthe upper baal ate mostly the same, Thoce arr sane eller ences in propertion because the guy's shoulelrs are broader and the gil wis There ig noticeable ctlersncn with the figures’ hips and gluteus marl ‘out (oute] 'm sure you noticed that. Fix instance, agitships may he 2c wid se the shoulders, while n guy hips are ger erally naerower than the shally sternum pbreastbone) ck earn) KEEP THE HEAD AND NECK IN PROPORTION Use the sternum and the clavicle to line things up and to make sure the neckis in proportion, especialy when it bending or twisting. to the Shoulder Bone snip moves, itaffects the surrounding areas of ‘When li the body. Muscles move, skin stretches and light wil hit those arcas differently and cast different shadows. CONTRACTED BACK MUSCLES A raised arms the shoulderblade, while contracting the deltoid and trapezius, The arm also pulls the pectoral muscles upward on the frontof the torso The Arm Bone’s Connected & pectoral @ ® a deltoid bicep tleep CONTRACTED FRONT TORSO MUSCLES From the front, the trian gle ofthe trapezius, which basicaly sits on top of the collarbone in relaxed state onthe lefthalf of the body, almost disappears asthe right arm ifs we B The Leg Bone’s Connected to the Knee Bone Most manga styles portray extra-long, lovely legs, but fp whether your characters are short or tall, well-drawn legs convey movement, stance and attitude «THE CALF ‘Theres a cord of muscle behind the knee that sis above the calf ( THE KNEE + The knee bends back andl up, The lower leg deus have some room to move tothe right or lat, but doen have avery wide range af mation CONTRACTED LEG MUSCLES Asthe lag hendis and esandls, the muscles in the leg change accordingly. When the knee i bent and the toes pointed the calf muscles contract and are more defined, @xe i> ely Hands stands are ricky to dre since they do so many things B and that results in numerous actions: arom Sten in dub getsomeone to post anak ter edt hands. Thats what frends ef ‘ence pictures A HAND’S BASIC SHAPE ‘The basic shape of the back of the hand is square—widening from the wnt tothe knuckles, Ihe line bonooth the knuckles ‘carves slightly braiatine eartine WHAT DOES A PALM REALLY SAY ABOUT US? Spread out, the fingers ofthe hand should pretty much connect toa point at the wrist. The main features ofthe palm are the thumb group in yellow, the pinky group in well, pink, and the pads under the knuckles. You don't have to draw ala of ines and Fidges on the palm. Generally, just the heart and brain lines are enough, since they are very prominent. ‘THE IMPORTANCE OF KNUCKLES Fingers are split in throo sections under each knuckle, which bends, Typically the fn gers gat wider st that second kruekle, ond then taper off at the last one into the fingertip, @*- & Ly B THE OPPOSABLE THUMB “The thumb only has two knuckles ‘and bends in one place. ——_—_—_ ZB Feet Feet, like hands ‘to keep them out of panel just to avoir Well: drawn fer capable artist. Here are some diagra @ = z) - | Le THE FIVE LITTLE PIGGIES Lach tom has a clfarant chap andi they generally luk ike thi, The big toe ean be longer or shorter than the second toe REMEMBER THE HI-LO RULE When itcomes to anklee bone, remember the HILO rule high inside low outside, The ankle ‘on the inside of the Footis higher han the bone on the outer side ofthe fot Al when it ‘comes to Ure tendons inthe foot, the big 98 has a separate cord, while tha ot together 1 four join sycanbe tricky toaster but don : id doing the work! end theirmorements ae signsof® ins t0 help yOu AFOOT'S BASIC SHAPE Draw the bottom arch ofthe foot as ift's not touching the ground. It actualy does, bt the emphasis ofthe arch makes the foot look more defined ‘THE SOLE OF THE FOOT The highlighted areas ofthe foot protrude the mast, and the white areas sometimes don't touch the ground a all Have Fun Drawing Feet in All Different Positions Use yourself or friend as a foot model. Draw feet in many different positions and from different angles, This will help you become familiar with how they work and move and how you can use feet to your > - 6 ls ; Drawing From the OB e B Inside Out 3} svehara to drawra figure without basic sketeh @ Body Types Using basic skeletal structures and the anatomy tips you've leamed so far in this chapter, try drawing different body types. AVERAGE BODY TYPE STOCKY BODY TYPE Stocky bodies have thicker ankles, the deltoid and ‘other muscles ae not as pronounced and the neck iewider PETITE BODY TYPE Petite and thinbody types have more definition ‘when itcomes tobones/ rmuscles/tendons. MUSCULAR BODY TYPE Weth tal, muscular bales, make sure wo define thove Putting People in Poses mnon skeletal structure (page 26), and ‘THE SHOULDER AND HIP LINES HELP DETERMINE THE POSE OF YOUR ® STANDING POSES Whether standing stil orwalking, the leg holding up most ofthe figure’. weights more defined because more muscles ara being engaged, SEATED POSES When a figure sts down, the gluteus and the thighs flatten out ‘on the surface of whatever the figure i siting on It may seam a lite strange at fist to draw almost flat lines where things are normally curved, but showing the interaction between the body and objects makes the setup believable, Action Poses peing able to draw action, even in a story with no SE) Pesta se necessary parofany mange Action ‘can be anything from walking to performing long lost secret guardian samurai technique. "Action poses should look like natural movernent is imbs are haphazardly cast in dra- ‘occurring, not like Ti ir bodies have ‘matic directions. When people move, thei a natural low, and this is how even an unruly sport oF dangerous fight scene can have grace GRACE AND POISE Aballerina has alot of grace and poise, Her limbs sre stetched out and the muscles in her calves are defined, I takes alotof ‘effort to dance an pointe LUNGING The muscles in the legs and arms are defined as thie val- leyball player lunges for the ball. The movement of the hair helps to givea better sense of the speed of action RUNNING When runaing or walk Ing, the movement of the an rd legs are in opposition. lithe leftleg goes forward, Une le arin goes back, Asthesightleg moves farward the Fight arm moves bck FIGHTING STANCE ‘She looking right, her upper body is twisting left and her legs are in squatting position reminiscent of a martial ats horse stance, Its not the most comfort able or practical preight pose, bbutit looks very dynamic JUMPING When jumping from something tll, the pec: ‘oral muscles pull upward asthe arms raise, This characteris also looking downward whieh, from this angle, makes his neck look shorter. FREESTYLE Allthe weights on thie b-boy: ight aa ashe performs this freeze. The lef side cof is torsa gets squeezed in as he brings his leg outward, so the muscles of is stomach are more compressed on that side of his body. Ce BK Putting Your Poses in 3K @ Perspective B 2 jes, certain, wre drawn from different angl when bodies are drawn seagate pars of the body appen larger inthe fret ‘called foreshortening. And when these fore body parts are exaggerated, that’s forced Persp ‘The latter is used a lot in graphic novels, toma and actions more dynamic, jortened ective. ke poses, BIRD’S-EYE VIEW This angle is drawn from above and gives the body a funnel-down effect. n this example, I'm using guide- lines that connect toa single point to help define the body's shape, DRAW THE SKELETON FLESH OUT THE FIGURE REFINE THE FIGURE Rather than straight lines, use Begin making the skeleton a prop- ‘The shoulders are a bit broader ‘curves forthe shoulders andhhips. These erly proportioned figure, than average, but itreally emphasizes ‘curves primarily angle downward. the angle. The trick is drawing the body in what looks lke proper proportion, Sider ck ey ew fe @ Sivan gta aay * 32 WORM’S-EYE VIEW oe @ DRAW THE SKELETON Flip the 180 degrees to draw, en the gules 1 em as This time, the ines of the shoulders from a very low angle. It's pretty much the opposite of a iz sas andi at the bird's eye view. the lines ofthe other pats of the body ‘curve upward as well Begin erly proportioned figure low angle. FLESH OUT THE FIGURE ing the skeleton a prop REFINE THE FIGURE In this perspective, the lags anc feat are exaggerated to ally sell the 3 | Drawing Heads and Faces ‘This section covers what is perhaps the most heavily recognized facet of manga-style art: big eyes, expressive faces and simple features. f you've opened this book, this is probably partof why you are here. Mange-style facial artis not intended to be realistic. In fact, many of the pro- portions are intentionally skewed, and chances are if you met someone in real life with huge eyeballs and magenta hair, you would be a litle ‘unnerved! But in comics, enlarging and elongat- ing certain features, like the eyes, ips and neck ‘adds an attractive accent to the art and character designs. ‘Within this section you will find simple instructions on how to create a basic head, ‘but from there it's up to you to make each face unique. You'llalso get help with drawing headls from different angles, and anifty lite guide showing a gradient of expression. Practice all of these thoroughly, as faces and expressions are ey to @ unique and memorable character design- ‘And once you have it down, don't be afraid to change up the details; there is no ironclad rule ag to what makes something manga-styled, and | it’s those little variations that give each artist her own style, 35 ‘i 3 we Basic Structure semi ser ite faces canbe diferent only 82 &® ® many ways, what with everyone having the same bose —* » Po feavures. But in reality, each person's face is unique an subtly or obviously differentfrom the next Persons xeeping thisin mind a you determine everything Uhe shape of your characters hex tothe with of net tips and the height oftheir cheekbones is what help you create an individual lok that your readers \ sul be abe recognize from the fae alone i J ass i ’ \ DRAW THE FACE HEAD ON START WITH A CIRCLE AND ADD THE FACIAL FEATURES ADD THE JAWLINE Start with the eyes by aligning the top lid with the Things like the jawtine and chin can always be adjusted later horizontal line. On average, the space between the eyes is €n, £0 the sketch doesn’t ave to be perfect. ‘another eye length, but it definitely shrinks withthe tendency ‘tommake eyes larger in manga. Now you can erase the bottom ppartof the circle, and the curves left behind act as guides for DRAW A VERTICAL LINE THAT SPLITS the cheekbones THE FACE IN HALF Then adda horizontal line, about a third of the way down the: citcle, which will help you ine up the eyes and ears. FINISH ADDING THE FEATURES ‘Nose length tends to vary with face shape, but on aver age the nose ends on the lower third ofthe face. Mouth location varies too, so place it where it best fits the character. ‘Alower mouth drags the face down and ages a character. It makes them look abit sour, too. DRAW THE FACE IN PROFILE ‘A PROFILE VIEW STARTS WITH A CIRCLE ‘The basic shape resembles the straight-ahead view, but now the jaw line is off to the side ADD THE GUIDE LINES The off-center vertical ine curves down into the jaw and the addition of the horizontal ine once again lines up the eyes and ears. ADD THE FACIAL FEATURES ‘The browbone protrudes to a point above the aye ancl then dips in to the base of the nose bridge. tt then slants downward to form the nose. FINISH ADDING THE FEATURES The mouth and chin can vary greatly with differant char acters, so take note of the basic structure and play with the proportions, DRAW THE FACE IN A TWO-THIRDS VIEW ‘A TWO-THIRDS VIEW GETS A BIT TRICKY Itstarts out with almost the same template as the profile view, but now the vertical line that divides the face curves in the direction the characteris facing, ADD A HORIZONTAL LINE HALFWAY THROUGH THE CIRCLE ‘Then sketch the ear, starting at the intersection ofthe hor zontal and vertical lines. This gives a better sense of where other features wll go on the face. ADD THE FACIAL FEATURES The top lids of the eyes should fellow the horizontal lin, and the eye on the right side of the face needs to be a bit smaller. The nose is a very angular shape to show how the angle affects it. Refine the shape into an actual nese. REFINE THE FEATURES ‘A two-thirds view ofthe face is somewhere between a straight ahead and a profile. So think about the facial features and their three-dimensionality Change the View 38 py simply changing the angles of your basic facia} 3 guidelines, you can draw the face from many different perspectives. EXAGGERATION In manga, facial features and expressions tend to be exagger: ated, so the rules of proportion shift slightly to accommodate style ‘When you make an eye wider, leave roughly twice as much space between both eyes as there i between the eye andthe ledge ofthe face. For making the eyes taller, take sac aneny from the cheeks the upper id stays inet up with the horizontal guideline of the face. This makes the fe lock ike its tilin proportion, even withthe lange eyes, Manga in \ The large eyes used in manga also affect the profile view of Profle the face. The brow bone i stretched out and the nose bridge gets shorter ANYTHING GOES! "Now that you know the basic facial structure, you can create Unique features. Draw a stronger jaw, sharp eyes, thin lps or round cheeks. The possibilities are endless. BOY VS. GIRL FACES ef, the jaw io more defined toa bho patrons Stats ene Teregiedeettantoy | rh ages Aon a dosoarwdhiguges ere aim ta foshonro oe etal ike thinner lips and shortening or leaving ee Jashes will make hien look more ike boy. ‘red areas willbe washed out and the shadowed areas will ecede, Eye Shape and Structure ® xyes are one ofthe most important features of & g character. It's pretty impressive when you see an ~ extreme close up of eyes and can instantly tell which CH OK character itis. ‘THE EYE'S BASIC SHAPE The eyebal is basically sphere, The lash lines of the eyelids touch the iis. The eye- ball bulges a bit, so add some definition to the eyelid tohint atthe eye's spherical shape. CLOSED EYES Whow drawing a closed aye, ln the ide follow the shape of the aye DRAW THE SPHERE IN PROFILE CREATE THE DRAW THE TOP AND ©} ADD LASHES AND THE EYEBROW BASIC SPHERE BOTTOM LID ‘Add the ins. ‘The lds join together to form a triangular shape. This leary shows that the eye protrudes outward DRAW AN EYE STRAIGHT ON inmanga art, the eye doesn't necessarily have to start with that basic sphere, The nay you draw eyes i a stylistic choice, but the following steps can be applied to whatever eye shape you end up choosing. START WITH THE LASH LINE DEVELOP THE SHAPE AND IRIS ‘Add another line for tha bottom The iris and lash line should touch ofthe eye, andthe crease on the taps eyelid START THE DETAILS DEVELOP THE DETAILS The lash line gets a lite darker, because its Draw the eyebrow, figure out the direction of te light naturally shadowed. Add wisps of lashes. source and add a spot of rellected light The highlight ‘obscures some of the pupil For emphasis, darken the area immediately around that highlight spot. The broken citcle around the pupil hints atthe slight color difference that shows the form of theirs DRAW A SIMPLIFIED AND STYLIZED MANGA EYE IN PROFILE Vw we {| SREATE THE BASIC ADD LASHES AND 2 DRAW soME COMPLETE THE EYE SHAPE THE IRIs DEFINITION The eyebrow and pup Start with the shape of the Darken lashes and add a finish it off. me eyelids arth ible por feu nes tohintat the eyelid afthe eyeball nth ase creees its trianguler, @ — Give Your Eyes Personality pifferen kinds of eyes project ifferent characteristics ® Large, open eyes can seem kind and innocent. Half Hndded or sharper eyes are secretive orl, even & vicious—perfect for villains. Play around and create droopy eves, eyes with small pups and sited pupils. Heck, while you're tt fee) free to give a character three pupils that look like com- ‘mas and spin around Eyebrows are also an important tool and are Very effective in showing a character's personality. MALE EYES Eyes are pretty interchangeable between the genders, Generic male eyes, however, have no long eyelushes und the eyebrows: are slighty thicker. PRACTICE DRAWING EYES FROM DIFFERENT ANGLES Your characters’ eyes will have different shapes depending on perspective—a bird's-eye view may tend to narrow the eyes, while a view from below might show more of the round eye shape SB highlighted by tones or ‘inked. The lips: — a) ~ DRAW THE MOUTH STRAIGHT ON se YY _—_—— a ‘CREATE THE BASIC SHAPE DEVELOP THE SHAPE ‘Start with the very basic shape of There isa dip in the center of the the lips. upper lip which follows the dip beneath the nose. The comers ofthe lips also ADD THE DETAILS ‘Add as much detail as you prefer. (Outline the lips, add the small ines that appear on thelips and add the gap twin upward between the lower lip and chin DRAW THE MOUTH IN PROFILE Ltt CREATE THE BASIC SHAPE DEVELOP THE SHAPE ADD DEFINING DETAILS Let’ start with tis nice flat surface ‘The dip beneath the nose curves ‘The bottom lip curves out again beneath the nose. ‘out and then curves backinto form the and then goes down to the chin, upper lip. @®- ®g _@ ® SHAPE VARIATIONS. There are numerous variations for mouths and lps. The lower ip can protrude more, ‘the chin could be longer and more pro- nounced, and the lips thinner. DEFINE SHAPE WITH SHADING OR COLOR Draw the lips asa simple broken ine, allowing the definition to come from shading or color ‘TRY DIFFERENT ANGLES AND GENDERS To give the effect of male lips fa right, the mouthis usually wider the lips not so {ull The shape ofthe jaw and the com- bination ofthe other facial features also helps to show the difference, ‘Anoseis a feature that can add a lot of character toa face. Noses can be big, smal, lat, hooked, broken, bulbous, oF simply ugly or attractive. Keep in mind that the more lines on your charac- ters’ faces, the older they will ook. in manga, noses tend tobe discrete, ‘sometimes no more than a couple of nostrils, But that's up to you. NOSE LENGTH Determine the length of the nose. circle shapes the tip of the nose so draw tas large or small as you want = t DRAW THE NOSE IN PROFILE The easiest way to draw the profile of anose saline for the nose bridge from under the brow bone and curving back in. However, there are also @ number of ways to make roses look diferent. Nostis might be larger, the nose bridge wider, ort might have a bump on the bridge or a hooked tip. 46 \ ‘THE NOSTRILS’ BASIC SHAPE “The nostrils flare out from the sides of the circle, These vary in size as well THE BASIC NOSE SHAPE Use a triangular shape to define the nose when drawing from diferent angles. = a — — SIMPLIFIED STYLE ‘When going fora clean sined manga look, you can keep it simple. Two small lines to represent the nostri ae all you need for a nose. Avery simplified shadow on the side of the nose works too. Go ee Cer € oe &® Ears Like the other parts ofthe face, the ears can be simp fied, so don't get boaged down in the details of every fold and bump, b CREATE THE DEVELOP THE 3 START DEVELOP THE DETAILS BASIC SHAPE Z SHAPE REFINING ‘Afew short curves are Thisearisdrawnin —Drawpartofthe AAnotherline finishes enough to represent the inner profile upper cartilage of the off the lower lobe. This folds of the ear 7 leading downto line should look like it the small bump called connects to the upper cartilage, butleave the line partly broken, THE EAR, STRAIGHT ON Ears from a straight-ahead view usually just consist of part of the upperlobe and tragus, but some peoples’ ears tend to stick out mare. ‘The same principles apply to elf type ears or "- 2 8 Facial Expressions Expression, both the subtleties and extremes, are 2 hnuge partof any mango. Entire books could be, and hhave been, dedicated to the movements and emotions ofthe face alone. Studying people around you, as well ‘as other manga, will be your greatest help in learning to draw various expressions. But to get you started, 2 rnumber of emotions with varying degrees of intensity sire shown here. Sometimes, allt takes is the set of the cyebrour ora quirk of the mouth to get feeling across. Sometimes it takes full-on yelling and crocodile tears Add Hair—The Icing B on the Cake! & You can have a lot of fun with the style and color e of acharacter’s hair. It can be long and wavy, gravity-defying spiky, blond, purple, white oF Fey “The following pages show a few examples of the numerous hairstyles out there. Rather then taking it stepby step, ll share some basic techniques that you ‘can build on to draw all sorts of hairstyles. ESTABLISH THE HAIRLINE Establsh the hairline on the scalp, Forehead sve varies and the average is @°. START WITH THE BASIC HALO OF HAIR Doty te cane Hers ne eb oo Fowouacamt ae wn Ko your pene oc erg anoath, Soaks Gather fuzzy look, which is fine ifyou' is fine fyou'te drawing short, fully hat fe Nene eo or, uff hair, but forlong, smooth hair keep REDHEADS The color palette for redheads includes auburn, red, orange and every thing inbetween. Ina manga setting, ed hairis often represented with a light gray tone, something with afine grain Hair Color | Cs The following examples show naturall variety, although more saturated th; inreal life, ly occurring color ian what youd see BLOND HAIR Blond hair can be straight up sve tinges of ted or brown or can be very light and pale. In manga, characters With ight colored blond hair ‘are usualy lightly inked with lite to no tones. BROWN AND BLACK HAIR Brown or black hairs litle easier to deal wit, although there are stil quite afew tone variations from light brown to back. In ‘manga, brunettes and black-haired characters get darker tones, ‘or canst be inked without using ary tones DEVELOP THE SHAPE 8 is Pm if io if iE a a < 18 me tA INK IN LONG HAIR INK THE INITIAL SHAPE ESTABLISH DEPTH For black and white shading, ink the intial shape of Make the ends ofthe bangs and the bottom of the hai the clumps of hair darker, letting the line fade as it goes For characters with ighter hat, such as blonds, stop up. This hints at individual strands of har, aswell asthe xdding some lines in the shadowed reflection of light more definition, but forthe most re space. DEVELOP SHADOWS The hair on the right side of her face is inked more haav- ily since it’s in shadow. But the area around her face is haloed 0 that the ink doesn't interfere with the line weight detail ‘on her face. On the left side of her face, add more ink to the shadowy parts, and the dips in the waves of hair. This could bea finished example, ifthe light source for this drawing was particularly bright. Curly and Wavy ‘This can get ait tricky. Curls and waves need to look random, but still have some order, or the hair will just look like a big mess. Try not to draw individual strands, but, instead, draw larger clumps of waves and curls for a cleaner look. DRAW A RINGLET oy Z CAE Fyokvelor AURERNE ean teeasic Qrurstare Sanesnare cna! ee share Molathesee Thotvandothar Toaeraen {ela cininyot nlm aphonecod, ——thispoint,you'd motion. Leave the head ofhar kaw; teva aight coor cut down onthe You can prob- berelybeableto —outsideedges. many ringlets ee the tip of the curl LOOSE CURLS + With very wavy or loose curls the curves almost have sharp angles as they bend into the cul, © KINKY CURLS Drawing really kinky hairis oe Drawing Clothes ‘Whether characters have a full, colorful and fun wardrobe oF Wer the same thing day after day tends to depend on the preferences of the artist drawing them. But whether drawing the same three outfits over and over again, or coming up with something ne every chapter, the more believable the clothing looks, the better the artis. Shirts which look like over-starched boxes aren't convincing or attractive; fabric follows the laws of gravity as much as anything else, and should stretch, wrinkle and flow according to how stiffit is and how your character moves. ‘This section offers short tutorials on how to draw different tex sures, as well as clothing references and ideas for filling out Your own characters’ wardrobes. While all the clothing shown 38 drawn on gitls, the techniques and style considerations cross genders and will apply to your guy characters as well.Just remember to always keep your characters in mind when designing their wardrobes. How you choose to dress them will accentuate their personalities. Fabric 101 jsn’tan excuse tohave clothes with ® ‘comic medium isn't an excuse to have! ’ PS fe. no texture. Even in more realistic art, drawing fabric Peck: @ < o is simply a matter of showing the way it rapes TEXTURED FABRIC £ as wellas the way the aheres tothe igure it ison, a wel Yu don't have tocar something ino i light hits the surface show texture. Simple pencil strokes or Say inked line weight can effectively express \ texture, ‘wn thane. The collar can be turned STIFF FABRIC + za Starch iter ficcanhokits \~ © FABRIC THAT DRAPES Lightweight fabric drapes on the body ifitcant holdits own shape. Since the style ofthis shirts loose and meant to drape, there are ot of ines to show al: \ the fabric, MOVEMENT OF FABRIC > =| Considerhow movement and weather | affect clothes. The ype offabricisalsoa | factor A loose, pleated cotton skirt tends | ‘to fltterin a strang breeze as opposed 10 tailored, more fitting skit made of a heavier suede, ; \ Fabric like se drapes easily and fol: lous the curves of the bedy. I's light, 0 t doesn't hold its own shape, Using very shor strokes forthe jacket collar makes it look lke fur For the bottom portion ofthe jacket, give the short strokes more of a curve to make Fabrics like corduroy and denim ate stiff enough to hold their own shape, as shown by the stand.up collar Corduroy has a ditinct texture, and you can show that by drawing ines torepresent the LONG FUR Use long, smooth stokes, fer longer fur Draw small groups oflinas to create dusters of fur LEATHER, VINYL AND RUBBER Leather hata shiny quality to it Vinyl and ruber do, as well You can show this ‘quality by creating a very stark contrast Lbenween the shadowed creases and the lit areas ofthe textile, Shirts here ares of clothes to weer outthereand1@P5 &® or en ape, size and color. A good mixture o 3 vale your characters reference and make-believe can keep each dressed in their own particular style. BABY DOLL SHIRT + The collars vary rom very lose tothe neck ton elmost shoulderwidth V.neck collar These shirts ae ited and tend to stretch ‘across the chest. Mind the location of the shirt seams. T-SHIRT Aloose shirt like this rapes a lot more ‘and the seams are more noticeable on the shirt sleeve, Adding detail like seams make clothes look more finished See eee Shirts With Collars _ Collars might seem hard to draw, but just pay attention 3 to the basic shape and you can adda collar to your shirt with ease! we WOMEN’S BLOUSE JACKET COLLAR MEN'S DRESS SHIRT Choose the Best Style for Your Character No matter which style shire you choose, keep it in line with the personality of your character. Is she easy-going, fancy or filly? Cc “w rr Sweaters @ he geams atthe shoulder are similar tothose of ® raving it farther away from the body Sle DRESS FOR THE SEASONS Soft lang and comfortable. Making sure your characters oo ORS are dressed fr the season can make athe di ® between a black-and-white sunny summer day, and a lear chill winter morning —_— mH Sweatshirts & SWEATSHIRT vakuaae ‘The basic structure of a hoodie or sweatshirts a eH hooded avaettit. Tshirt or tank with longer sleeves, with the pocket in front PRACTICAL + Some sweats ae practical, ike this zip-up style used to keep 2 body warm when running outdoors in cool weather HOODED SHIRT + The fabricin this syle is thin and fit Hood size and thickness can vary, but they basically all hang the same way. STRICTLY FASHIONABLE This type of hoodia is worn more for fashion than warmth, 67 Be st Blazers and Long Coats azers and dress jackets are well tailored. The initial js at the widest part of the goes from under Bl focus is the shape. The seam. shoulder. There is also the seam that pit tothe bottom hem of the jacket. These coats keeping warm, Don't forget ation! the army are as much about style as to take your character's budgetinto consider SUIT JACKETS Women’ jack thatallons more room atthe ches ands brought n more a the wit. tom benesth the waitin to low onthe hips. Sleove lengths ovary Jacket leng Warm Coats to make your characters’ wardrobes alittle more interesting, not to mention less chilly, give them warm coats. Coats differ from each other in the nuances — from the line at the waist to the number of buttons srfabrie choice. Not thet there's any teason you cent spice things up with a neon green jacket, of course DRAW QUILTED FABRIC DEVELOP THE REFINE THE SHAPE ADD DETAILS Determine a light Shadow the crinkled CREATE THE BASIC SHAPE SHAPE Asthe seamlines The sleeveisslightl fitted Draw crisscross pattern of intersect, the fabrics shadow but far enough from the diamonds. The lines curve makes itdarker The separate fabric that goes into seams. body to leave space for slightly at the edges to make diamonds puff out, but ae padding, itlookthree-dimensional. pulled in at the seans. DRAW PUFFY FABRIC J CREATE THE BASIC DEVELOP THE REFINE THE SHAPE ADD DETAILS SHAPE SHAPE The fabric bunches up ‘Add shadows and finish The sleeve is looser and Draw the seam lines. attheseams. Drawinthe with inks. farther away from the body. wrinkles e SK fea ees 6 Pants ‘Most people have a preferred style of pants, maybe liking them tightin the hips or loose in the legs. Some just never want to wear denim— others don’t own anything but jeans. Keep your characters in mind ‘while you design their wardrobes. waisrunes eer decide which style to draw. " MID-RISE (AT THE NAVEL) HIGH WAISTLINE DRAW JEANS CREATE THE BASIC DEVELOP THE REFINE AND ADD SHAPE SHAPE DETAILS Boot-cut jeans are fitted Drawthe beltline andthe Add creases to the fabric fromthe waistto the knee. zipperflap. Thelengthis and details like buttons, From there, the fabricflares abit long, so the denim pockets and seams. itis outslightly and goes straight bunches up at the ankles. _ fitted jean, the fabric stays, down fitted to the ankle, For a face jean, the fabric moves away from the ankles, and won't bbunch up as much, BAGGY JEANS With baggy jeans, the crotch ofthe pants is lower and there are noticeably more ‘creases inthe fabric since it doesn't ding vey closely to the boa. THIN DENIM Some pants have the donim look of jeans, but are a thinner material, allowing for more movernentof the material around the bod. SJ Shorts shorts are drawn like long pants, just at shorter lengths. Be it capri, cargo, boxer style or cutoffs, make sure the shorts you put on your characters match their personalities. Swimwear Se ‘The construction of swimsuits is pretty simple. For the ‘most part, the fabric follows the contours of the body. Certain suits have a little more detail for the sake of fashion, More Skirts LOOSE SKIRTS Loase skirts have alt of moveant—they move with the body and canbe disturbed by wind, a z dD Flowing fabric basically ‘consist of eaveral of these curves. DRAW A BASIC FABRIC GATHER x I Giictarr Wine A tar Sheer BUNCH IT UP PINCH IT TOGETHER The fabric starts to bunch up in the ‘The sheet pinches in atthe base riddle, ‘and you can clearly see the fabricin shadow beneath the curve. DRAW A RUFFLED SKIRT ad |i Bld, Ali REFINE AND ADD DETAILS Clean up the pentils. Dafine the shadowed areas oft them in with a darker tone CREATE THE BASIC SHAPE DEVELOP THE SHAPE ‘The ruffles don't have to be very Follow the curves and add more planned out. Sketch a skirt her with definition to the fabric. SKK a Frilly and Formal Dresses Qo” vpodice of dreseis smilarin structure to a shirt, SIE} ana the tower portions simply a skit DRAW LACE eS Sa , : : — i “Eg aS CREATE THE BASIC SHAPE DEVELOP THE SHAPE REFINE THE SHAPE Rough in the general pattern of The top layer of lace has a scal- ‘Add a set pattem of dots to give the lace loped edge, while the two bottom the el Unless you really need layers consist of fabric pulled tightly into to show seme detail up close, that’ all ‘aseam.Usethe same stepsforthese yo ‘o draw. Tofinich itoff, 2 twobottom layers asyou wouldwhen piece of ribbon with scalloped edges drawing lowing fabric ‘covers the seam that joins the sh the lace. FINISH IT WITH SOME INK ‘Add a shadow beneath each layer of lace to show the gap between the fabric layers and add shadow between the lace and fabric folds is a hat person, but there is a hat for every sty, fashionable or profes- Noteveryon' type of person. Whether spo! sional, a hat can top off an out of day your characteris planning {fit and tell us what sort BASIC HAT STRUCTURE The partofahat that cavers the head will generally need, tobe fitted on the head tight enough to stay put. Designs and colors change itup. The hats above all have brn, il thei head changes are floppy, while the part covering the or close fiting to more structured © TOP HATS Play withthe brim and the top, tocreate hats with stif structure, like top hats and Stetsons. HAVE FUN WITH IT ESTABLISH THE PLACEMENT © CREATE THE BASIC SHAPE REFINE THE SHAPE Draw the line forthe bottom of Sketch the outline of the cap. A The bill ofa cap has a slight curve the cap, of a curved line across the Comfortable ftis often tightenough _toift. t goes up in the middle andthe forehead. that the hair bunches outfrom where _ sides come down. ‘the hat ends. Ces and ives Gloves and Mittens G8 @ Depending on the type of glove or mitten, creatingit ‘ SB spending on the type of Bo" 8 ® ® gers and is a matter of drawing over the lines ofthe fin adding visible seams. -—5 BW WORK GLOVES. Add detail like the broken lines to show the seaming, MITTENS Gloves Are a Fun Way to Accessorize Your Characters Elegant, fashionable or practical, gloves and mittens not only help show the season, they can set the mood and show the personality of your character. ‘This ype of glove is made from so uy fabric, soit is thicker and the lines ae broken up to show the furzy texture Leather gloves are tight, 50 there isn't much extra thickness ‘around the hand and fingers. Scarves Accessories, or lack of them, are an easy way to add epee cee a 1 CREATE THE BASIC SHAPE Determine the path of te scart Use a simple ribbon as a guide. 2 DEVELOP THE SHAPE ‘Make the band wider. 3 REFINE AND ADD DETAIL Draw the fabric, using the bandas 2 ‘guide, and drape the fabric as it wraps ground itself, Add darker areas to inch tate folds and overlaps in the scart. aa Socks follow the contour of the foot. Draw creases around the heel. There are usually . ; seams around the toe andheel. Add your f favorite colors and patterns to match any out. Draw fuzzy slippers with a broken outline to show their furay texture. “@ , Socks and Slippers Socks come in every type of pattem and area great ot accesso Yon can get reall ceatve with signers ng opt pink and fuzzy when they can look Hearne anything you can imagine? Leg warmers wll follow the contours ofthe ankle and cal. These types of slippers are much larger than the actual contours of the foot. Play around with the slipper detail, And don't limit yourself to bunnies! Ski ~ Sandals, Sneakers and B Sensible Shoes ‘Make sure your characters have a few pairs of everyday footwear in their wardrobes, unless you have a good reason he never puts on anything but socks, oF she always wears high heels. FLIP-FLOPS AND SANDALS The gral shape ip por snd smart hea wd es ier to ralroo rth Te mon visible difference between the right and left foot is ha placement of the straps and where they attach to the base, A PRACTICAL, WALK ABOUT TOWN SHOES While nat necossanly the syle that stand oul in a crane a practical shoe may be the shoe of choles for your character DRAW LACED-UP SHOES Ki! ESTABLISH D CREATE THE DEVELOP THE REFINE AND ADD. PLACEMENT BASIC SHAPE SHAPE DETAILS Sketch the tongue ofthe _Drawthe shoe around Startto define the parts Clean up the pencils and shoe andrough inthe lines the foot. of the shoe. ‘add the laces and ather inal of the laces. touches, lke vieible stitching, BQ 89 WO ap ae & B Heels B pefinitely not for everyone heel stil lend a certain & @ amount of sex appeal, and come in thousands of dif . ferent styles. From business casual to strappy stilettos, ‘what sort of heels they are wearing can say alot about agitl..or guy: With high heels the foot has @ very high arch, almost tiptoe. A shoe's heel height varias f as does its width : DRAW HEELS AT AN ANGLE CREATE THE BASIC SHAPE DEVELOP THE SHAPE REFINE THE SHAPE Start by drawing the foot with a Make the toe ofthe shoe pointed ifyouwant,youean add more basicslip-on shape. You could add just or squarish, depending onthestyle details tothe shoe. i abitmore detailifyou were draving of shoe you'e going for. Because of i someone with slip-on shoes. the angle, the heel ofthe shoe looks shorter than it actualy is, If the Shoe Fits... Once you get the basic idea, play with the style. Be it fancy, fun or funky, each character will have her own favorite look, Boots ‘There's no reason galoshes can’t be fashionable! ‘Toss out thet old yellow style and make them ts can range from whatever color you want. Boot trendy to necessary, line of work. depending on your character's STILETTO SCRUNCH BOOT This boots constructedlike a heeled shoe, withthe ruching starting above the ankle—imagine that you pushed down on the recon very top of the boot and all the fabric got serunched up, This type of boot is lined with wool, so it should be drawn loosely round the foot, leaving aclequate room for the padding inside. The cuter materials suede ands flexible, so creases will appear wien the ankle flexes and moves the boot / RAINBOOTS AND GALOSHES hose types of boots can actually be pretty siylish. The tops can be furlined scalloped or belted, and the boots thamsalvas can be any pattem you DRAW LACED-UP BOOTS ESTABLISH DEVELOP THE SHAPE ADD DETAILS PLACEMENT Place the laces, keeping them evenly spaced, ‘Adalthe finishing detail The basic outline is ike draw- Draw additional design elements. and the laces tied at the top. ing a regular sneaker, but the shoe's tongue and top are higher on the leg, CLASSIC COMBAT BOOT HARNESS BOOT 1 93 ck ws Purses and Bags A girl may have one purse she uses every day, eit hhandbagor colorful tote, or purse to match every ‘uti! Either way, whether stashing wallets asses, ‘mp3 players or very small animals, you should never ‘want forthe right kind of bagif you just use alitde imagination. purse stRaes hen comes to bag th body Sraps rind the dretontesoap fee andy tron ittwvists. 7 FLOPPY BAGS Some bags take the shape of vatevers insid, STRUCTURED BAGS Certain purses have avery structured constuction, and the shape isnt affected atallby the contents, ox, then play with the shape. DETAIL IN THE STITCHES a” o— — / ~~ other Fun Accessories thems like jewelry, glasses and other accessories are XE} rope that give elues toa character's personslity. h EARRINGS AND NECKLACES UPI} caring, necdaces and ther yous cf eel an caw fom a ‘ (! snensess var oflentts, materials rdconstucton They canbe simple anda or owerhe top and hry CREATE THE BASIC SHAPE ADD THE DETAILS AND REFINE Drawing glasses of any kind stats the sarne way. Use @ ‘Then just draw the shape of the lenses and the curved rectangular shape in front ofthe eyes to act asa guide toline piece that goes over the bridge of the nose. The hinges up the lenses. Its especially useful with the face ata two- {recon the upper portion of the lenses. Finish it off with the thirds angle, earpiece, ‘Once you have the besicides, play with shape and details to create the perfect glasses for your character, DRAW AN UMBRELLA 7 CREATE THE BASIC SHAPE Draw a cross with ninety-degree angles. Draw a cup shape. ADD SPOKES Let the spokes radiate from the center of the umbrella PLACE THE DETAILS. ‘The materalis stretched between the spokes, so draw a few stress lines. 5 | Cool Looks, Step by Step ‘There is really no way to tell you how to go about creating characters.Do you design them first and then write a story to fit what you have drawn? or do you come up with a history and create a picture to tit? Maybe they just start asa random, passingidea, and before you know it, you're fgur ingoutlove interests and favorite colors. Wht ever works for you, this section is about fleshing, out an idea and an image, by representing stereo typical archetypes that may or may not actually fit said stereotype. Keep in mind that creating & unique character doesn't have to be about pulling the wildest possibilities into one place; develop inga believable character that your audience can sympathize with and care about centers around giving them someone they can learn to under stand. This depth is what separates a beloved mousy bookworm from a forgotten one ‘The next challenge is to convey all of that with your art. People talk, gesture, stand, dress and make different expressions depending on the things they have experienced and the life they have lived. Whether itis a socially awkward boy who never dresses well and always holds himself stiffly, ora confident and cheerful young git! who seems determined to bounce through life, this section will show you how to put that personality into your character design, QUEEN of DRAMA AA few lucky stars are just born to drama, exuding it not only on the stage, but inevery other aspect of their lives. Susan Rachel Hartfield loves the spotlight, and happens to be pretty good at getting into it, whether it takes hard work, long crying bouts or just accepting the lead female roe. Pretty, and definitely abit petty, Susan doesn’t quite understand why her peers don’t enjoy her company as much as she does. But while her attention to self may not have made her popular, it has found her a solid place on the PERFECTLY POISED SUSAN a 1 stage. So there's no doubt that one day soon study : she'll be successful enough that even her Spore busy family and friends will find the time to Social ee come watch a show. Recreation : Family Dramatics eee furry ROUGH IN THE DETAILS Suamissnop posed orshoud 2 Pact lcleatsesardchow Roughin that and ad dtato Isupacd?Shechosendsard hebodyatucae Shvaytet-” tela lnures on exresion Her stipaigh hcksterhesdupand ecweandcoewtimokevarecesayy _foelsereste btsbaued Hos Ghecattahywos,nesianges wowrronsccherGuihs acai Shogrechermood avy wth eyes Sisumeatiege meumsnralter, sil Scunbraterdamateendhund yon nto chro words The SPORTSWOMAN Making a good case for nature over nurture, Ruth ‘Maroi shuns her well-to-do parents’ desire for a RELAXED RUTH Pretty little princess in favor of any athletic sport study wee she can get her legs into. Baseball? Soccer? Even sport wente Sootball ifshe can find someone willing to take her socal ad on. Which doesn’t happen often, as Ruth has a bit of Recreation seat reputation for backing up her words with her fists Family bas when necessary, regardless of whether it's stand- Straightforward eR ‘ng up for herself or someone else. Thanks to Ruth's Preoccupation with sports demanding her time and energy, she sometimes has trouble making room for a social life. But with her all-star abilities and relaxed personality, her peers often find themselves gravitating toward her, often without her notice STRIKE A POSE rue aN ROUGH IN THE DETAILS Rh ava vey lave stance, Filia thet suture Ruihisan Ruths hor isshort and gy Hershoidesshimpandshesamost —shlteeoebergorabrmee muscle valet eos sho jr cher suring Youcansetupthiscorlesonherthenmostonales Her fame's hendtweugh endear us nth pote bymatingsue heles cf har ail rty sma bu rong Et uh por coma anes are usualy baggy and slighty rumpled Because of her small chest and narrow hips, you can't even see her figure here, 102 104 HAPPY-GO-LUCKY ‘Some people are never boring, or just never bored. Always able to find a way to-entertain herself, Michelle Theodore Jeffers tends to enjay life, the universe and everything—usually with a skip in her step and an annoying song stuck in her head. While she has few close friends, there's almost no one who doesn't enjoy her ‘TRENDY TEDDY company, as she effortlessly manages a precari- ous balance between exuberant and annoying, pata oa So whether it's dragging her father on wild spe- 4 Sieh tuning adventures or concocting devious plans] ae to gether friends to hook up—no matter what’s er ee happening, Teddy can cays becountedontobe | my ie having the most fun in any situation. STRIKE A POSE FILL IT IN ROUGH IN THE DETAILS “Tacky very lively person, so her Draw the body and facial structure, ‘Add detail to the facial features and stonces at always exaggerated and full Like herstance, her expressions are —_expression, draw the hair and finish the ‘of movement. The waistine isacuved also exaggerated. Start roughing in _ clothes. Teddy moves around a lot, so her line rather than a straight line, since she clothing, The skirt flares out, showing _skirtis constantly in motion. There are a isbending forward. that she's rocking back quickly onher lot ofcreases near the waistband seam of leftleg, the skirt, because the pleats are moving around alot. The inside pleat of the skirt is more visible asthe fabric swishes around. coLor le detail ike a There's a bit more personality coming from the colors of| andskittomake her socks and bag, Its alvays bright, vibrant colors for Teddy 105 The SOCIALITE Popularity can be effortless if you happen to look, smile and act like Odessa James. With her exotic appearance, excellent wardrobe and honest personality, Odessa turns the heads of men and women alike. And never ‘one to be just a pretty face, Odessa has complex understanding of people to ODESSA IS back up all the time she spends with ALWAYS SMILING them, leaving her with friendships Study dene others might think unexpected, and a Sport ee social circle that encompasses most of Social eee the map. Odessa is often on the social Recreation hee ‘scene—usually by masterminding Family eee Collin’s epic parties. Perceptive see STRIKE A POSE FILLITIN ROUGH IN THE DETAILS Odessa leads a busy lil, She's Draw the body and facial struc cick eres, almostaleys onthe moveand retains ture. Odessa very friendly and always and expression, raw the hair and fini good posture smiling, and there is alot of movernent the clothes. Odessa‘shairis styled, but inherclothes; she always walks with casual enough that she can tie it up if purpose. she has to. 106 Other Looks for Odea AISEAN UE AND Wis GIRL NEXT DOOR There's nothing wrong with being “the gir next door,” or with having a resumé as long as your arm. A big believer in hard work and experiencing |e ust for the sake of it, Trey McKinney has taken every sort of seasonal Position available—Christmas elf, renaissance festival performer, cashier on Black Friday, and even some volunteer work now and then, She doesn’t need the money, but understands the benefits of doing things for herself. While her eternally positive attitude has left her social skills alittle lacking, and she is often oblivious to people around ‘TREY her, whatever time Trey has left over from work is a always available to be eaten by friends and poten- study ast tial significant others, even if she can’t really tll ae i sacial the difference a Family + Reliable eee | STRIKE A POSE FILL ITIN ROUGH IN THE DETAILS ] Shes very calm, propor and lady= Draw the body and facial structure Add detalto the facial features. | Ike. Trey doesn't move around too Tiey has an average body ype. The For the most part, Tey usually has a | much, either. pose isnt anything remarkable, but her small smile on her face, and the set of { right hip juts out abitsince herweight her eyes is open and friendly Her hair is j ison thatleg. To give the picture litle always neat, and although its wavy the | more interest, bent anarm up and strands are always in place. added @ shopping bag eee a, The INDEPENDENT Being a starving artist is all about focus, dedication and a frugal wallet. ‘When not working to make rent, Rebecca “Beck” Williams assembles her rebelliously stylized wardrobe by shredding her ow jeans, sewing (on patches and otherwise altering whatever looked like it had some Potential at the local thrift store Her other hobbies include practicing guitar and piano. Not nearly as scary as her punkish appearance and bored looks might lead people to believe, Beck is open-minded, calm and personable. With cour- EFFORTLESSLY COOL BECK — tesy superior to most, she’s one of the few people with } study = the patience to make friends ee ae with almost any type, even a po RE certain drama queen, Fumily * Experimenting STRIKE A POSE FILLITIN ROUGH IN THE DETAILS Becks just elforlessly cool. Her Draw the body and facial structure. ‘Add detail to the facial features postures confidentand relaxed, and Becks eyes always have ahalfidded, and expression, draw the hair and finish she slouches alot. somewhat bored lock Start adding the the clothes. Her shirts are wrinkled and rough details ofthe clothes. Lntucked, as ave her skirts. Beck also enjoys having a lot of mismatching accessories—rings, studded bracelets, ties, suspenders 1 > TT St WELL-BALANCED There are advantages to being the well-balanced sort. Philp Singh is the natural leader type, thanks toa mixture of dependability and seriousness, honesty and understanding, He doesn’t push anyone too hard, not even him self, but has a good idea of what others are capable of, and how to bring it out of them, This ensures that almost ll of his peers think well of him, even if very few are particularly close. Whether seeking out something to don a Friday night or dedicating himself to geting ahead on his work, Philip almost always accomplishes SERIOUS BUT What he sets out to do in the most effective way | _ SURPRISING PHILIP possible stuly Se Sport Recreation Family Priovitizing ROUGH IN THE DETAILS STRIKE A POSE FILLITIN ; Philip has a very serious bearing, Draw the body structure, A cross When seated, the hem of the slacks buthe initio si Hegetsalotmere legged pote cangetabitticy. but ridenupa bit Evenmoresowhen relaxed behind a karaoke mic, though. be sure that the battarleg has proper someone's legs are crossed. The fabric proportions before drawing the other bunches up at the bend of the tap lag’s eg over it knee. 112 The FAMED Collin Porter gets his strengths from the same place he gets his weaknesses; his Tooks, style and social circle. Don't let his ease fool you—he worked for that cool exterior, trendy fashion sense and the perpetually confident laze to his walk. But hard work always pays off, and the result is a smoking girlfriend, as ‘well as the attention of all of his peers. It may seem a little shallow, but Collin’s a good guy at heart, and is magnanimously willing to invite any type to his famous house parties, or play the sensi- IDENT AND tive friend by offering a listening ear. He may pes Sain not empathize all that deeply, and is more ma than occasionally guilty of having a big head, study ae bbut at the end of the day he'll usually try to do Sport ee right by others. And it certainly doesn't hurt Social me that Odessa digs nice guys, ioe Family * Confidence 4H STRIKE A POSE FILLITIN ROUGH IN THE DETAILS Hes popuayconfdent and sight, 2. Coins but not aden wth The clothes are sight ited but coc. Hetends to stand eround and muscles. Atti pon roughinthebot-_nottoo tight The pats re tallred slouchinawaythathelnowslocka tampa ofthe slack toshow how they andthe fabri sts denim, od hang down arcavay atthe cahes.iedoesn' bunch up thetmuch around ° ‘the ankles. 114 PSEUDO PUNK Confident, an occasional fit and cool to a fault, March enjoys leather pants, rock star boots and cutting loose at Parties. While his aloof air and over-accessorized style some- times leaves people with the impression that he's just a pretty boy playing at being a rebel, March has yet to bother to tell them — he just likes the clothes. ‘MARCH HAAS... COOL TOAFAULT study os Sport eee wie Recreation al Family eee ‘Appearance HI STRIKE A POSE FILLIT IN ROUGH IN THE DETAILS March is almost ahways slouching Place the facial features and rough ‘Add more detail tothe face and and gives offa very relaxed, bored inthe body structure. draw the hair, which March styles to be | attitude. atully messy The shirts collaris tuned Up, and the pants are cut at the shins to show off the boots, The SOLITARY There’s a theory that brain is superior to brawn, (~gygapt AND SHY ALLISTER but Allister Schnider is absolutely certain of this. ——wee study eee So if his penchant for spending all of his free time i" s or working out Boolean algebraic equations or reading : _ i cial books on the wonders of electronics sometimes gets him hassled, mocked, or even abused, Als stub- born enough to take it and write it off as the lesser ‘man’s jealousy. Which isn’t to say he wouldn't like to Jitin a bit better, or dress a bt nicer, or have some idea what to do when surrounded by his peers. But all in all, hhe wouldn't trade a bit of his brain power for popularity, and instead holds f ‘out for the day when he's recognized for his accomplishments and contribu- tions to science and society, above all else. Recreation ** Family Five-Year Plan je eens j j | i j 1 STRIKE A POSE FILL IT IN ROUGH IN THE DETAILS i He ies wo be serious, bthas He's a bit on the scraviny side, so Altres to keep his clothes proper | asocialawlarcness abouthim.Al give him narrow shoulders, hips and and neat. He prefers slacks over bea would prefertositathisdeskwith his everthing else. jeans, and the slacks are alvays presse fae reaieceneenne owtig corona ow anys i creases. j 118