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K's Art
Collect all volumes of the exching
HOW TO DRAW series.
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MAKING ANIME
ISBN4-7661 -1 239-3
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Table of Gontents
8
Ghapter 4 Chapter 5
Drawing lndoor Scenes How to Draw Backgrounds
Hallways/Stairs/Small 0bjects...........7e Learning by Doing. ..............10e
How to Make a Narrow Hallway Look Wide.....80 Process of Drawing Manga Backgrounds.,....1 1 0
Classroom: How to Draw Desks.......................83 1. Drawing a residential area
r Common chair/desk composition 2. Drawing a school
and the horizon 3. Pen drawing
Distance Between Characters and Walls .........88 4. Erasing and white correction fluid
How to Draw lndoor Scenes (Living room) ......90 5. Adding tone 1 - Residential area
1. Drawing the opposite wall 6. Adding tone 2 - School
2. Drawing a rough sketch Gomparison of Characters and Objects .........122
3. Drawing a couch.
4. Drawing a table. Ghapter 6
5.DrawingaWstand. Special Etfects and Character
Drawing Small lndoor Objects .........................95 Representation Using Perspective..l 25
r Small objects on tables and desks
- 1 Drawing Special Effect Lines and
Drawing without using perspective Sound Words Using Perspective............. .............126
. Small objects on tables and desks
- 2 Creating a Greater Sense of Existence
Drawing using perspective Using Minor Techniques.. ................129
r How to draw cups: Circles on tables Drawing with Perspective Rulers ....130
r Drawing small objects Special Effects Usin g Perspective Techniques..... 1 32
Using cellular phones as an example Various wide angles. .......................135
Drawing Beds............ .................100 Examples/Changing Camera Ang|es....................1 36
10
Chapter 1 Basics
Stondirg on
the Eorrh
When you want to draw a
picture with the main
character standing in a
wasteland, draw a dividing
line between the earth and
the sky (horizon). All
backgrounds begin with
drawing of the horizon.
/i\
The expanse of the earth differs
depending on the position of the
horizon.
4
I
/t,
Column: ln Japanese class, the dividing line between the earth and the sky is called chiheisen
(horizon) and the dividing line between oceans and the sky is called suiheisen (horizon), but both
12 are referred to as suiheisen in drawing.
I
\.\]
l
Column:Why is the horizon on land also called suiheisen in drawing? lt is called suiheisen because
it is a horizontal (suihei) line (sen).
13
Drawinq the horizon below (foot level) a character
--/
-
-=-::=>
//Wi
Filming conditions
D
\
@ The edqe of a cliff is the
height of the horizon
\
Drawing the horizon above a character
Drawing the horizon above the head of a
character creates the sensation of looking down
character. The so-called bird's-eye view. This on the
is a high-angteo composition.
.".:\\.-!1,, ,rz
Viewing height
15
the horizon in a character
Filming conditions
@ Low angle
16
. This is often used in scenes
with dialogue.
. Draw the horizon at eye level
when a character is moving in
this direction or for close-ups
of the face.
# 4
. -lis
.^-
is often used for dramatic
:nesentation.
. lnaw the horizon below the
*rnees of a character when you
rant to make a strong
rnpression or give the picture
i sense of depth or vastness.
18
,-llose-ups are used
:r present hands or
.nall objects.
@
-se a long shot when
r,t-- lvdfltto illustrate
lil:-irsfhing with an
:,,:-all view. Use a
: :se-up when you want
: :nrphasize one part.
brp
rtdce-xf
rnqnifed;i',ir
rGEtss
orapstda::
rXrgdemgst
.lfiire
fii*angle
Vanishing point
Changing the position of the vanishing point changes how the sides look.
Column: When you draw a building, for instance, think about whether you want to see the building from
the right or from the left. lf you want to see the building from the right, place the vanishing point
20 in tire position shown in the right frame.
lagine you are taking a l
: cture. lf you stand directly in
*cnt of your subject, the
*anishing point is in the middle. C
" iou move to the right, the 1\
,-rrishing point moves to the
| ..t
-,::t as well.
oo
!
--s is taken from the right side of the road. You can see more of the wall on the left side.
This is taken from the left. You can see more of the right side of the road.
'way to pick a
When you want to draw a
simple building roof or other
objects behind characters, use
one-point perspective. The
vanishing point could be in a
variety of positions, depending
on the diagonal lines of your
outline. Pick a vanishing point
by choosing an angle you like.
Subject
Completed drawing
ll
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Reference photograph
sketch of the background and choose a horizon and
-:ortant to grasp
-- .,:'all picture.
25
One-point perspective is short for "one-point
Drawings suited to one-point perspective perspective drawing." This technique is suited
to drawing indoor scenes and creating a sense
of depth.
27
When to use two-point perspective
Two-point perspective drawing is
a technique suited to creating a
three-dimensional effect or a
demanding presence. Use two-
point perspective drawing when
there are many building standing
side by side or when you can see
two sides of buildings.
vanishing point
28
2
Chopter
DrqwingtheOffint
Frcm hrerydoyScenety ilo
Outer Spqce
Think of a roof as
being on top of a -71\
box.Anybody can R
ciraw a roof as
li:iff',i:t<nowQffil
how the eaves
ffi
overhang.
--.
Roof height
Slanted line
,r
Corner of wall
liwnsring point
line 6 parallelto
the slanted line on this
side of the roof.
'
',I
Draw line @ from the
point of intersection of
lines @ and @.
,6@
Line @ can be drawn only after the supplementary line @ has been drawn.
Thickness lines are at
1=
.&/
Fiil
Road line
is impoftant to draw a foundation so
ic'a,rhill slope that the house will stand straight up.
:rshing point For downhill slopes, place the downhill Express a slope by the difference
slope vanishing point below the horizon. between the road line and the floor
line of the building.
lrnurm: Characters on slopes -Draw characters above the horizon as if you were looking up at
them and characters below the horizon as if you were looking down on them. 35
Think of a forked road as an Vanishing point A of a
To vanishing point A
intersection of two roads with straight road
differing vanishing points. Vanishing points B and A
C of branching roads To vanishing
Aerial photograph
Point B
# BA
B hamnlinuation
The closer the road is to the horizon, the narrower it will look, so
be careful not to make roads B and C too wide.
Vanishing point
What do you do when the vanishing
point of the building you want to
draw is located off the paper? There
are three things you can do.
'1
Add paper
.
H
2. Use a copier 4.'
3. Draw guidelines D--
@
Attach temporarily
with masking tape,
etc.
@ Trace
JO
3nce you have decided on the outer border of
ltebuilding, partition the vertical lines.
gw
on one side
or the other that the i
I
I
When drawing a
building, capture
the distinctive
features of the
building.
Draw wide
buildings like a
gymnasium
using two-point
perspective.
O Give the gymnasium shape @ Draw the roof using an oval template
41
When drawing backgrounds, the
size of characters is very impoftant. i
,,1
Sense of distance of
v
characters standing in I
a straiqht line o.
Let's try figuring out the vanishing MI
\)v
point and horizon from the wall
drawn behind these characters
standing in a straight line. The three characters are Pretty
much in a straight line when seer
from above.
t
Vanishing poi
42
Vanishing point
/
characters on the same perspective line -\- Perspective line
ff: in a straight line.
43
lacing multiple characters - Slide method
0riginahharacter
Y
I
-- -L - - - *- - - -- - -
,,t
- - -1- - - - - -
Randomly choose
vanishing points
Column: Place multiple characters by slidint'one character. You can think of it as placement by
lL reproduction/movement.
f oraw one character
Drawing groups of characters can be quite difficult. lf you
don't draw them carefully, characters can look like they
are floating or sinking or they will not fit in with the
background.
Process:
t_*w
View from above
C
Where you want to
new
Vanishing poinl :
J=-
Lll
Camera
)t)
lt
II -- - j* I
I}
Slide the original character into a
Sliding from the new vanishing point
parallel position (height is the same).
.'\t
II f ptacement
:
vanishing
-
I Point -r--
Put a placement vanishing point
near the dummy.
47
i1;,l}ttK-
Column: For scenes of students going to school, place blocks of two or three students walking side by side anc
place a single student behind, in front of or beside them.
48
,-4
'': rn;yl'il,H:iliT:iy,:f";t'rs
-
in tne toiesr;nd,;;; i;;; l;A;;;;;;i;i;i;;t|1;
49
A human head is about 30 cm
How to create height ditferenceS - Raising and towering the head
(11.81 in.). Use a height of 160 cn
All the characters will be (5.25 ft.).
,J rT1
"--"***^ \/I *
r-***-r"-
Y rTvl
z1 |
i ,.-.*
"48' I
1i:r
'ii.
:fii
.a -.; - *.*-l*-.1 .-i-
.L
ffi,.orno.
Measure the length of
the head and multi
to get the total length
of the character.
Multiply by five if the
headto-body ratio is
1:5 and multiply by six
if the head-to-body
ratio is 1:6.
Length of head
Reference: ln the case of a headto-body ratio of 1:ti
Note:Always multiply the head length by the same
number for all characters.
All are multiplied by different number. ln this drawing, heights were determined using the
same head-to-body ratio before individual differences
in head-to-body ratio were added.
Rough image
I i,.,
Drawing building on right
inino heioht of door
Perspective line \
Edge of sidewalk representing
(road side) the edge of the building
Perspective line @
2m
indicating height
of door (2 m)
\' ' 1.8 m
*-*.t
;, " rrrcnize the door=2m(6,56ft,)
illlill,."= :f the
(adult male) = 1,8 m (5.90 ft.)
The height 0, the door is about one head higher than the characler
,":3ter
ll I lilll ,:
( j'ound and Column: Synchronize the scale of the character and the background. When drawing the
tf. 1 :fiaracter background, clearly show how high background parts are above the ground. When you
--lllllti
-: a dummy. try to do it by eye, you end up with doors that are too big or houses that are to small
in relation to the character.
ng guardrail 1
nining height of guardrail I\ t,a
lt
,'
|
:
1
I.ll l\
i ' t,
. J:
tl,t\
i1 \
',;*'; {\ i l: \
\
-'t
o Slide the character to the edge of the
l
j
The height of the guardrail is a little above @ Draw a supplementary line horizontally @ You get the right guardrail heig'
the thighs at a little above thigh height. in relation to the size of the
character.
ng guardrail 2
rail poles at even intervals
pole
,f
\,Third
\ ,ono* or
second pole
'll2 supplementary
/The interval between Divide at 1i2 the height
guardrail poles is uniform. Supplementary line in
You are free to choose any direction of vanishing point. @ Determine positions
interval. of remaining poles.
54
J JJJ
==2,
Do not use perspective drawing
indiscrim inately when drawing
long shots of buildings and
upward and downward views,
etc. Simple ideas can create
large effects.
Character
ffi
tb I
1,,fr,,1
Location proposal 2
G
D E F
Characl er Street
B
A c
"*,1
56
_il
k'edtbpotut Generally, in one_point
3$ i
illt@s ranishing point:
tw_o-point perspective
perspective
drawings the
and
ji ,'
i
r@As was
perpe nd icu rai
two-point perspective,
iil; iffi:T i:TJ".J
ffi&m vani tne vanisfrrng
;inh
are. placed near
the top and Ootto*iiinu"
picture
\
tr..'\
--xr
. "r"'\
.,...."\ I
\. \\ !\ ''...\"
\\\
\\X
\\/
two-point
/ '* '--i
I -
g';g--- -ffi1 I
":-:.-:;:i{S{,::--
Fil)=Q';:".+f
,fu
wj
Two-point perspective
Three-point perspective
allows you to draw
powedul pictures.
Aerial view of scenery
Bird's-eye view
Skyscrapers
r:,:::::
terill0i!0llpqf$:$rtelpsiilaralr*Iei,g&d$-6_:i,]
ti.;lrt: :!,:,::::r:i::,::r,;ii::rr:::,,,. -r'.1-.rr...-..,
:i:lgri{r.c$rt*ixll,ber::]r:,:l:::i:':iii::ii:
:nOii'iielg$iiSgi:
!.ri&i?,0ii1&:::i:i::il
column: when drawing a bird's-eye
view of scenery using one-point perspective,
in accordance with the objective freely place the vanishing point
of the piciure or the composition.
61
Making a qroup of buildinqs in the distance look cool
When drawing a group of buildings in the distance, reduce the
of the buildi
Reducing the depth of buildings is effective when the main subject is in the foreground and the buildings are
used for pure scenery in the background.
This
ofa
6ct*
Draw objects far away with thin lines. For lines that
run into characters, draw them thin as if they fade
away and do not make contact with the character.
There is a big difference even then the frames are the same
size and the vanishing points are in the same position.
Buildings drawn with reduced width Buildings drawn with normal width
Column: When you want to avoid drawing a confusing group of buildings in a long, narrow frame, draw buildings
as if they were in the distance using narrow depth lines.
when the is curved
Distorted ground
used for dramatic
presentation can
be used in a
picture where you
are looking up
from a low place.
Place the
vanishing point in
the middle directly
above the picture.
Dots will be
a7o small if you do
a it close to the
a
/ paper.
Put oil-based correction fluid 0
on tip of pen @ Ftick with brush
column: correction fruid wi,
spratter in the generar vicinity,
so put tape around
the manuscript and frame to
mask;;;.'
65
Making planets realistic
otE r
03E
(-)o3
,--, (J 3
!!-r-
-, /--\ 3:
( )-: Give planets a touch of color and apply tone to make them round
Representation of
outer space
ooi and to make them look heavy.
ta....
Draw vanishing
point and
Mark the spot
Place on sidewalk slightly supplementary where you want to
away from road line. lines connecting it plant the next
with tip of the tree tree.
@ Draw "pole" for and the base.
second tree.
.i
Second tree ,;'
,',
a
.I
Fourth tree
I
Column:When drawing roadside trees and tree-lined roads, first clearly sketch the road
and sidewalk. (Needless to say, you need a vanishing point and horizon.)
lraw a line of trees on
,re side of the tree- @ Draw a perspective line
where the trees will
j
red road and slide it to
be placed.
I
::e opposite side.
- Draw a line of
trees on one side
Perspective line where
of the road.
trees will be placed 7
tl
1' ---'-' Perspective line for road
ooo
Square type Round type
r
i
,
:
''s.
l
shrubbery, think about how
light is hitting them.
6't
A tree consists of leaves and a trunk.
There is no need to draw everything. ln the case of both trunks and
leaves, do not draw the parts with light hitting them.
Think about the direction of the light and draw the shadowed parts.
Give the trunk the feel of a trunk and leaves the feel of a leaf.
-
kEler@-L@tesE
$.
i'-\)44
: Y/
!^ \v//
1--l-**
Sycamore
iN)N'\
\( \N) t\
CherrylZelkova
M
ffiffi
AurNS, @ g"
Chinaberry/False acacia
Example: Roadside trees
drawn close together
T-
l{ow, ..hi had6illlsii.,iiii.....i
[0rcr']-rng or evening:
SiirEi,ow is long.
--:
:
-
:
-,,r8I the sun is, the
:" :te shadow will be.
qI
Shadows
Sunlight
below eaves
solid.-
summer Make them
't,:,',',,,,.',,t'.,'.,
Perspective is
used for
shadows created
by artificial light.
Dlace the
When light source is
ranishing point above, shadow is short.
r the center of a
streetlight and
determine the
shape of the
shadow by
lonnecting it
,,rith the object
When light source is above and
:eing Iit. to the side, shadow is long.
Shadow formed by
florescent light is faint.
lur,l_lr,,"ll
t"-- i,i rl
l'
flwfl$rlj'
:i#r-*_.li=lr_-
Rivers
Draw rivers using the
Vanishing point
techniques for drawing Horizon
roads. Choose a
vanishing point and
draw free hand.
1;-*:'-
77
Various
Cumulonimbus
Blur by cutting out, erasing with
a sand eraser and shaving.
iii:,,ti1ll|;tiiltl:iiitii,iiiitit
78
Chopter 4
Drcrwing Indoor Scenes
Ho I lwoys/Silo its/ Smq ll Obiects
There are two ways to make a hallway in a
narrow frame look wide.
O Draw using irregular two-point perspective.
" ';,:",11
\:4..'l rrlt
\i.,,/,f \
s#
|Z/Y'
t,,,,,,fi,tr .l
:l
::,lil.
Itl:1:::I1,.lli
t+:....:l:::!l
\i:{:i}/
l:/r';Altl
i ,T,1,,/
t:i,H
0.Y."E)
@ Widen hallway
Method to
Vanishing point for right wall Vanishing point for left wall
widen hallway
Draw the right wall from The closer the two points are, the
the right point and the : closer it will be to one-point
:rr
E
left wall from the left perspective.
point. *
. :'3SSUre.
-se when you want to create tension or
E.
lrregular two-point perspective is a technique used to emphasize
buildings in the foreground.
Use this technique when drawing dead ends and T-shaped junctions.
Character background/Town
83
A character sitting at a desk in class. First
imagine the composition you want and
draw a rough sketch.
Rough sketch
Find the vanishing point from the shoulder line
of the character and the desk line.
Vanishing point
\]"'J*xqa
!\.
\ Shoulder
r..
The horizon is determined after the vanishing point A character sitting at a desk.
has been determined. The character, chair and desk are
After finding the vanishing point, draw a line directly to the side. usually parallel to each other.
l
i
t
Draw straight
.L
from around this t_egs angle oui Side view
slightly.
85
d
Common chair/desk composition and the horizon
Vanishing point
rii:. Horizon
The distance
between a
character and a
wall is represented
by the relationship
between the
position of the
character's feet
and that of the
floor line.
Near the wall
{<
.')/,
//,
R
lndicate the presence of a wall by drawing a shadow.
80 cm
Side VIEW
Relationship between person, Staft by drawing
camera and ceiling this wall
270 cm = 8.86 ft.
240 cm =7.87 fi.
160 cm = 5.25 ft.
150 cm = 4.92 tt.
1. Drawinq the ite wall 80 cm = 2.63 ft.
@ Draw door so it
looks natural relative
to the ceiling.
. The room may be any width you choose.
. Since the view is that of a standing person, draw the horizon at about j50 cm.
Placing the vanishing point a little to the left or right of center will make the
picture look better.
I'l o The ceiling, floor and sidewalls are drawn using lines coming from
the vanishing
point and passing through the corners.
. Draw a perspective line on the left and right walls that are the same height as
@ Determine horizon the door.
and vanishing point
column:The perspective line that is the same height as the door acts as a guide for
based on the height of
determining the height of furniture. Drawing a perspective line with a distinct
the door.
height is the key to drawing backgrounds in both indoor and outdoor pictures
90
2. Drawino a rouoh sketch
T
I
{
,,
80 cm = 31.5 in.
40 cm = 15.75 in.
25 cm = 9.84 in.
15 cm = 5.90 in.
@ Draw thickness. @ Draw shape.
Vanishing point
92
- l:al'r a projection.
Vanishing point
i Determine height.
80 cm = 31.5 in.
/, th the table against the wall,
40 cm = 15.75 in.
:;lermine the height of the table
-:m the height of the couch.
@ Add thickness.
Completed drawing
Column:Draw indoor scenes using one-point perspective. (Two-point perspective is not used very often.)
Small objects on not show this portion.
tables and desks
- 1
)rawing without using
-.erspective
/)
- a scene where one side (or
,,, o corners) of a table is not
, s ble, draw without using
:
"'spective.
Show this part of the table.
Small objects on
tables and desks
Drawing using perspective
-
2
Small objects on a table drawn using one- Tables are often drawn using one-point
point perspective each have their own perspective, but objects on a table seldom use
vanishing point on the horizon line (they all the same vanishing point as the table.
share the same horizon line).
How to draw cups
Circles on tables
Horizon
lncorrectly drawn
. When the top of the table and the horizon line
are close, use an oval that looks like this.
Thin ovals Iook like O are often used for long shots.
Long shots are used for explanatory scenes with
almost the entire body of a character and background.
lncorrectly drawn
When the top of the table and the horizon line are far apaft,
use an oval that looks likeQ .
Horizon
B@
The farther away the circle is from the horizon
0vals that are almost circles are often used
line, the closer it becomes to being a perfect
for close-ups. Close-ups are used when you circle.
want to make a strong impression or you
want to magnify something.
K/
\7
BB
98
Drawing small ,bfits--_l When drawing small objects made up of squares, simply
Using cellular phones as an example draw all vertical and horizontal lines parallel to each other.
I
Drawn using one-point Drawn using two-point
perspective perspective
ff$
-1-r,rr \tN
;/ //lll\
l_< ll, r/
l[, ,,9
"
Build a simple model when it is difficult to
come up with the cubic effect of the
mattress and person.
/ffi
draw a circle with the axis
as the center. ,'
-\
\
\l+
r\, l
/f-'+ I
I
# I
l,'re
1\i i
\
ing height
i40 cm
Top of axis
Vanishing
point of
opendoor
\
Door locus
Door vanishing ,,'
lil
f/
Horizon I
@
I
Vanishing point
of open door
Vanishing point
of open door
-r_
/= Upper vanishing
The door point
vanishing
point is far
away.
Move the
vanishing point
to the left when
--l
you want to
make it look like ^
,rrhlL
you are
up from the left.
Vanishing point
l''0'iurnn You cannot see the horizon in a picture looking down a flight
of stairs because of the
composition of the picture.
107
When drawing a side
view of stairs, there is no
need for an inclination
vanishing point. Just pay
attention to the eye-level
vanishing point and
horizon.
Below horizon
Below horizon
Left of vanishing point . Can see upper surface
. Can see width of steps
Chopter 5
Howto Drqvn
Bockgrounds
leoming by Doing
-1"
Let's say you have a name and a character for your manga.
All that is left to do is draw the backgrounds.
Let's take a look at the actual process of drawing manga
backgrounds using perspective.
Proposal draft
('neemu' in Japanese)
1'10
r- ihe case of manga, you
-:_rally draw the frame at the
-::er
*-
left or the top row first.
s helps keep the page from
:;:ring messy.
Reference photograph
Vanishing point
= Draw road.
.*.- 240 cm
240 cm = 7.87 ll. 200 cm *
190 cm
---- - 220cn
220 cm =7.2211. 180 cm
200 cm = 6.56 ft. 160 cm
190 cm = 6.23 ft.
180 cm = 5.90 ft.
160 cm = 5.25 ft.
180 cm
m
Next is a school. There
will be no character in the
scene, but start by
dr'awing the foundation
and a dummy character.
/_y*,*
cm
Even if itwill not appear In the
picture, clearly draw the sudace
where the character and the
school come into contact to
make sure they are balanced
conectly.
@ Draw contour
,, .&,.
s ,r1
t8': .l
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,
i1 ;,
irjYi
t -*t"'
i . -.."-{:"1-
1'
l
li
'3-._ a a
I11 i. I'i
tti
I'
Iai
ll
I
ffi
I
t
t
ffi
f
H
-..-..-_.-i-
l
I
---"'t.
ffi
I
The eaves, window and wall ratios of into four parts starting
Side view
schools and other buildings are the from the first-floor contact
same for each floor. surface that is not visible.
3 Draw windows.
Draw remaining
windows.
@-g Draw
supplemen-
The depth ratio of tary lines.
windows is the same
for every floor as long
as the perspective is
not from above. Thus,
for the remaining
windows all you have
to do is extend the
@-4 Divide
window lines from
each into
another floor.
two (to
divide
window
into four).
116
3 Pen drawing I
vanishing point.
Masking tape
4
Thumbtack
fi
1./'
';r tr;3*|nn lines in the direction
Lir
of the
;:- i.- r"rg point, tape a thumbtack over the
;r-:il' ng point. Using a ruler with the
'" - -:-ack as the axis makes it easier
to draw
:::* -:,:gh sketches and in pen.
Erasinq and white correction fluid
118
tr
Z,
-N
Scrape uniform curve using
Think of perspective when blade tip of cutter.
determining tone cut.
119
Adding tone 2- Residential area
+re
The page is complete
after you have finished
adding detailed tone!
€* #
\,
that you see around yourself
every day can all be used in your 270 Ceiling line
drawings. lt will be very helpful when
drawing manga if you know the size 240
of objects around you. Remember
the size of objects relative to the size
210
of human beings (yourself).
180
160 -
150
120
90
60
30
90 (2.e5 ft.)
ffilg'eft.t
122
One interval = 30 cm
(about one character head)
123
Adding reflection tone to windowpanes creates
a more realistic atmosphere.
124
E.
Chopter 6
Speciol Efhcrs qnd
Chorcclrer Rryresenlqlion
Using
(n
Use of perspective € ---- --
is not limited to - -./
!L il
buildings and \-l, ---.
'- 1-.t.
backgrounds. lt can
be used for
il
anything that is
pafi of a picture. J
That includes H
E
U
special effect lines
The sword in this picture was drawn in
and sound words. Side Front
perspective, but the sound word and special
effect lines were not.
i,
I
^y
.:-t1
rl
,l
perspective in
mind to make
them look
cool.
127
Special effect lines when the vanishing point is
outside the picture.
Draw them away from the vanishing point.
W
# wW
4t# <*" '
*
af,_
Dedicated ruler
t)
,
P
uil
----\
r: :. 3 graduations on
]tliirrcE itive rulers to
'tr'"r"'ill potential.
,, i' : ,:( Convenient tO
.iut,r{ :El'spective rulers
,r*,1' :rawing a rough
ilr: - ,
131
The horizon line is two steps down
from the top of the stairs. The horizon
line is oblique relative to the picture.
lren if you draw a character normally, you will get a powerful
:,rmposition by tilting the horizon line,
rffi
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PUTTING THINGS IN MORE ABOUT PRETTY GALS PEN AND TONE TECHNIQUES
PERSPECTIVE tsBN4 7661-1242-3 l5BN4-7661 -1 258-X
lsBN4-7661 -1 256-3
COSTUME ENCYCLOPEDIA HOW TO DRAW ANIME & GAME HOW TO DRAW ANIME & GAME
lsBN4-7661 -1 2s7-1 CHARACrERSVOL.I CHARACTERS VOL.2
|SBN+7661 1120-6 tsBN4 7661-1 174-5
HOW TO DRAW ANIME & GAME HOWTO DRAW ANIME & GAME HOWrc DRAW AI{IME & GAME
CHARACTERS VOL.3 CHARACTERSVOL4 CHARICIIRSVOT.s
tsBN4-7661 1 1 75-3 tsBN4-7661 -1 254-7 lsBN+7661-',t 276-8
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'ililflffiIm|ilJt
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ISBN t{ - thl-Ia5b-3