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Anime and Manga Drawing Tip - Learn about Japanese Art Learn about Japanese Art and Culture Ok, so it isn't a shortcut. But if you are serious about your Manga and Anime drawing, you don't want to be a pale imitator of a Japanese master. You need to learn to see the world the way they do. Japanese culture has a rich history that you barely touch on in your average Art History class. Indeed the very way the Japanese eye moves around a picture is different to the western eye. Many conventions in Japanese animation and comics come from Japanese legends, stories and histories. Often, complete episodes of Japanese history are retold, such as . Or they may make subtle references that the ignorant will miss completely. Find out about Japanese art history. Learn about the great Japanese painters, printmakers and calligraphers. Read their stories and history. Children's books are a great way to learn the basics, and may whet your appetite for more. The aesthetics of modern Japan also influence the cartoonist and animator. Check out travel books and movies set in Japan. Try to imagine living there. Observe the landscape, especially the urban landscape, how people dress, the technology they use. If you are serious about your Manga and Anime, its more than about just the lines on the page. Its about the world they represent. Suggested Reading Medieval JapanJapanese Zen BuddhismJapanese Literature Clean, Crisp Manga Drawing Lose the smudges and dirty colors! First of all, wash your hands, and consider using cotton gloves when drawing, to prevent oils from your hands getting onto the paper. Otherwise, keep a spare sheet of paper under your hand. When using colored pencil for Manga drawing, its easy to pick up tiny specks of color from dark areas, making streaks or spots through your lighter areas. To avoid this, work from light-to-dark, doing highlights and pale skin tones first, then adding darker shades and shadows last. Use a soft brush to flick away loose particles of colored pencil. Use the same approach when using felt pen for coloring manga, and make sure that previous layers are dry before starting on a new color, if you need to avoid blending. Pencil lines can often be a problem, with graphite pencil smudging into colors. Use a fairly hard pencil, and draw as lightly as possible, lifting off excess graphite with an eraser. Re-do linework after you've colored the drawing. Some artists like to use a smudgeproof Indian ink to ink drawings prior to coloring. Improve Your Manga Character Drawing Get To Know Your Character If you read Manga a lot, you might think you know your character, but nothing beats drawing to really learn the individual shape of a character. By concentrating on one character at a time, you can get to know them really well, so you'll always draw them correctly. - Collect a scrapbook of pictures for reference.
- Study the artist's linework and color palette.
- Do a sketchbook page of their face from every angle.
- Do a page of eyes, showing all kinds of expressions.
- Draw their hands in different poses and holding objects.
- Write notes about how they move and look. What is special about this character that makes them look different from others?
This approach is also useful if you are creating your own character. Chibi Art (a.k.a Super Deformed): "Chibi" is a Japanese term for "small". Chibi art is used a lot to convey humour or cuteness (kawaii mono). It's a deceptively simple process I'll take you through now. | | |
Step1: Two heads are better than 1
Chibi characters are only 2 heads high. Start your drawing by stacking 2 same sized ovals on top of each other. |  |
Step 2: Big head, Little body
Now that you know how little space you have to make the body sketch in some cute little pose. Use similar techniques to construct this body as you do a regular sized body. Build a mannequin out of basic shapes. The arms and legs taper to a rounded point.
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Step 3a: Hands - do's and dont's
DO: make a small, well formed hand like a baby's hand. Chubby forearms tapering into dainty little fingers.
DON'T: Make a Mickey Mouse styled cartoon hand |  |
Step 3b: Feet - do's and dont's
DO: Taper the leg down to a tiny nub. You don't really need to define the knees. Make a small line to separate the foot from the leg. Like a tiny balerina foot. awwwwww.. dats so cute.
DON'T: Make a Disney-esque little Lu Lu foot. The leg should come straight down into the foot. Don't actually define the typical wedgey foot.
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Step 4: Define the key features.
From here it's pretty easy. Slap on some clothes and start adding details. The mouth is like the letter "D" turned on it's side. The nose is not defined as a strong line. It's best to leave it out all together or define iy with shading if you decide to color it in.
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Step 5: Cleaning up:
Use a kneaded eraser (see Materials) and blot away your lighter support lines while darkening in the lines you wish to keep. Voila
| And there we have it. A nice little Chibi friend to call your own..ain't she sweet?!
Maybe I'll make a keychain out of her. | 
| Fighting: A show of Force. | Punching |  |  | BAD PUNCH:
It's not horrible, it just lacks a certain force. Even though the form is good on both characters there's something that needs to be done to show this punch packed a wallop. | GOOD PUNCH:
This is MUCH better. The force of the punch is shown in the shape of an arrow. The horizontal line coming from the attacker and the lines of the targets body bending at the point of impact. Making the fist a "blur" of lines helps give a sense of speed and power to the punch. | Kicking |  | 
| BAD KICK:
Same deal here. with the target being stick as a board it tells us this kick was nothing special. the attacker appears to be merely raising her foot at the target | GOOD KICK:
Now THAT had to hurt! Again..the horizontal line of force crumples the targets body around the point of impact. He probably won't be getting up for a while. Also the attacker's body is much more a part of this kick. all the balance is thrown into it giving the impression of a mighty delivery. | Adding details: |  | When you get to the stage of cleaning up your work and adding in details be sure and incorporate lines that translate the action taking place. The edges of her fist and arms are quick strokes following the direction her arm is travelling. his head is knocked back from the point of impact. His hair and spit show the continuance of the force of the punch. I put curved lines on his check to show an indentation where her fist connected. | | | |
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|  The most important thing to consider whenever you are drawing clothing or any type of fabric is the direction the fabric is going to be pulled in. Folds are caused wherever the fabric is being stretched or pulled; figure out how exactly you want the fabric to move, and the rest is pretty easy. Always remember to consider the figure beneath the clothing; the cloth should reveal the shape of the figure beneath. I'll go into more detail on this later.
At the left are some examples of basic types of folds. Notice the movement of each example shown; the fabric flows downward on the top left two, for they are being pulled down by gravity. This type of fold would be on something that hangs loosely, such as a cape or long shirt. On the lower left and upper right examples, the fabric is not only pulled by gravity, but stretched to the left (probably by an arm that is underneath the clothing). The folds become more horizontal than vertical the further it is stretched. Also notice how sometimes the folds are nested within one another. This will often occur at joints or areas in which loose clothing is bunched up. The lower right picture is a slightly more complex example of a more inert piece of cloth being pulled in a viarety of directions. Notice how the folds follow the direction that the cloth is being pulled in. | | 
Here are a few more examples of basic fold shapes. On the left, the cloth is being pulled downwards by gravity and to the right by wind or motion. One the left, the long strip of cloth is bunched up near the top. Remember to use shading to give your subjects more form. Generally, you shade along a fold line, or on any places that you think a shadow would be cast. This takes some getting used to. It helps to look at actual folds sometimes to see where to shade. Sometimes, I'll sketch the drapes or a towel hung over a chair just to practice and get a better feel for how clothing is shaded.
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Here are a few more random examples, of a bow and some sleeves. The most important thing to note here is the shape of the folds at the joint of the sleeve in the middle.
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These are some more complex, overlapping and nested folds. The more detail you put into it the folds, the more interesting it will look. On the left, notice how the fabric bunches up where it is tied together; the weight of the fabric pulls it down and causes extra creases and folds to form where it is gathered together. The tie itself is drawn with lots of detail, and the cloth beneath it blows loosely in the wind. The fabric is shaded around the folds and in the crevasses formed by the cloth. On the picture to the right, a length of fabric is draped upon the floor; notice how the folds nest in one another and overlap, creating an interesting effect.
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Another thing I want to point out is the thickness of the fabric in question. The fabric on the top example appears thinner than the fabric in the lower example. Take note of both collars. On the top, the circular rim of the collar connects directly to the rest of the collar, while on the bottom, there is a space between the circular rim and the vertical part. The same applies to the edges of the cape. While on the top example, the edge is crisp and thin, on the bottom example there is extra space between the rim and the rest of the cape. This extra space makes the clothing look more thick and heavy.
| |  Now that we know a few of the basic shapes of folds in fabric, let's move on and see how clothing should look when it is actually being worn by someone. At the left, we have an example of a very loose, draping sleeve. As mentioned before, the main thing to consider is which direction the fabric will be pulled. The sleeve here is being pulled in two main directions: downwards because its pulled by gravity, and to the left because its attached to the main garment and is being stretched across the arm and torso. The folds in the sleeve will follow the direction that the cloth is being pulled. Notice also how the cloth bunches up around the wrist. This isn't necessary, but it does indicate the length and looseness of the sleeve.
| |  Here are three more sleeve examples. These sleeves are not as loose as the one shown above, and all stick pretty close to the arm. In these examples, the cloth is stretched from the arm to the shoulder and torso, rather than being pulled down mainly by gravity. There isn't enough material to be pulled down too greatly. Since the fabric is pulled horizontally, the folds should reflect this. The best example is the top picture here; notice how the folds move towards the shoulder instead of towards the ground. The sleeve in the middle picture is a little looser, and is pulled down by gravity more. The sleeve in bottom picture is big and loose, but is rolled up at the elbows, and thus doesn't hang and droop as much as the sleeve in the previous example.
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These are some miscellaneous bits of clothing that didn't fit into any of the other sections of this tutorial, but that I wanted to include anyway. In all these examples, try to identify where the cloth is being pulled towards and in what direction (for example, is it being pulled roughly towards the shoulder, or draping loosely over the subject?). Always remember to shade wherever the light doesn't fall, such as grooves, areas inside the folds, and places where the cloth overlaps.
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One small but important thing I would also like to go over before continuing is the effect that stripes can have. If you are drawing clothing that has stripes or a pattern on it, make sure that the pattern moves along with the rest of the fabric. Where the cloth bends, the stripes and patterns will bend, as well. This can be difficult to draw and shade, especially when you are dealing with complex patterns, but it can add a really nice three dimensional look to your picture.
| |  Now that we know some basic shapes and know a little more about how clothing should fit on your subject, let's work on the actual parts of your character's wardrobe. We'll start off by going over basic shirts. Whatever type of shirt you draw, there are some basic places where folds will occur. Sleeves will be stretched towards the shoulder. Fabric generally gathers and bunches up around the armpits and waistline. If you are drawing a character with a heavy jacket or a loose shirt, the fabric should be thick and baggy and full of folds and creases, while if it is a tighter fitting garment, the clothing will stick pretty close to your subject (which is why it is important to be able to draw bodies; I have found that you cannot always cover up your entire character with really loose clothing to hide the fact that you aren't very strong in figure drawing. ^_~)
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Here are some better examples of various shirts and clothing for the upper body. Notice that while some clothing fits closer to the body than other clothing, you still see many folds where ever the fabric is being stretched. Generally, you'll see folds the most at the armpits, upper portions of sleeves, waistlines, and depending on how tight the outfit is, the chest (as shown in the lower two examples). Also make sure that any seams that are visible on the clothing follow the shape of the cloth and the character that is wearing it. ^_^
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All right, let's work on the pants (something that I personally sometimes find a little daunting... ^.^;) I have noticed that guy's pants tend to be a little looser, while girl's pants cling closer to the subject. Also take note that female's rears tend to be more round, while guy's are tend to be flat and squared off (a rather strange observation, I know. ^_^;) No matter which gender you are drawing, the fabric will gather around the lower waist, knees, and ankles. The cloth around the upper and lower legs is generally pulled straight down by gravity and won't have too many folds, unless the leg is lifted up, in which case you'll have folds similar to the sleeves on the previous page.
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Here are two more examples of clothing for the lower body. The one the left is an example of really loose, baggy pants. The material is has more folds than normal pants, and in this case gathers at the ankles. Notice how poofy the pants get below the knees. The example on the right is just showing how no matter what you character is wearing, you need to consider the form of the figure beneath the clothing. In this case, the clothing is relatively tight, but hangs down past the knees, and thus is drawn a little tighter around the rear. Also notice how the loose fabric bunches up right above and below the belt. That concludes my tutorial on drawing clothing. It isn't the most organized tutorial, but I'm hoping that it covers enough areas so that it can be of some help to you. ^_^
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Ok..so here's my first tutorial I'm doing under protest. I'm not really a great mecha artist so I feel a bit uncomfortable showing others how to draw one. I'll try to explain some of my philosophy on designing one which may spark an idea or two for you. Hopefully this will be worth the effort. |  | Mecha : Step 1-the structure Like everything. I start with a stick figure. With Mechs you can be more creative with the proportions. You don't even have to make them humanoid. I'm sticking to the basics here so I'm going to draw a humanoid mech.
I make sure I leave the shoulders wide and the legs set apart for balance. |  | Mecha : Step 2- roughing in Now here's where I do mechs different than humans. I dont really do the Ball & Cone setup. If I do I always end up with a Transformer type mech and those are too blocky and old school.
Instead I think bulky and powerful. Large bulges that house machinery, Armored joints, sensor arrays...ect.
I try and make sure the joints, though armored, can move freely. What good is a mech if it can't make it's hands meet in front of it.
Think about the function of the mech...is it for urban use? Space? Does it doe heavy lifting? Does it need to be fast? Does it need to withstand harsh environments? |  | Mech : Step 3-detailing After I get to a shape I'm happy with I start erasing unecessary lines and and darkening the ones I want to keep. I add seam lines and tiny access panels all over the meI made the chest cavity large cuz because that's where the engine would have to be. This mechs about 9 ft tall and unmanned |  | Mech : Step 4- inking
I've added a few more details and got the the inking stage. I use a realatively thin line for the details. Machines look better with a heavy outline and fine lines on interior details.
If you'd like to see a large version of this drawing..click here.
| Feet: BasicsBy Rio  Drawing feet is not a feat at all. We'll start by going through the different view points of the foot.
Side views of a feet are pratically triangular shaped with a rectangle on top. The straight lines drawn indicates the ankles and toes where bending occurs. A quarter view of a foot may look tricky but just follow these steps:
1. Begin with a trapeziod with rectangle on top.
2. Cut the pointy end of the trapeziod so it runs pratically parallel with the top of the foot.
3. Bend the end of the foot where the toes should be. Add toes guideline if it helps you.
4. Finish drawing by curving out the lines a bit, adding ankle, and toes.
Not bad huh?
The drawing just below the side view illustrates two feet. Note that one is slimmer than the other indicating a female foot and a male foot. Feet drawing can differ just by a slight change in width or thickness and even length. Finally, the front view, is also made up of rectangles and a trapezoid. All you basically need to do is draw in ankles and the toes.  Speaking of toes, lets take a look at how to draw them. On the right is a three step process to draw toes. Starting with just a guide, draw laying L's for toes. Make sure the inner toe is the biggest with the last being the smallest. From there, draw in the toenails and you're done!
 Moving on to toenails, here are several instances of toes at varying angles. The last toe is of the big toe. It's shape tends to be wide at the middle and tapers off on either end.
 Going back to the whole foot, we have here an example of the two sides of the foot. One side, if turned, has an arch. The other side, if turned, does not.
The side of the foot with an arch faces the inside while the archless side faces outwards. A trivial info but something you have to keep in mind when drawing the foot.
 Lets look at another detail you have to remember: the ankle. On the right, we have a quarter and a front view of ankles. At quarter view, the ankle is reminicent of a boomerang while the front views are slight bumps. Nothing to it!
Another aspect of feet is how they bend. Below is a drawing of a foot at rest and a vertical foot resting on the toes. At the ballerina-like stance, note how the top of the foot is pretty much straight and the back of the ankle is now scrunched up. The same scrunch would occur if the toe was bent inwards.
 
One last detail about the foot you must make note: the foot curves at the toes. Check out the example above with the slippers. The longest point is the big toe and grows less as it reaches the pinky toe. This is why shoes are generally shaped with a rounded end.
Emotional ExpressionsBy Rio These are various expressions from happy to mad. The little drawing on the side shows the basic layout of the face when its making the expression with the bigger drawing. Click on the image for a larger view. Angry > Really Angry > Mad
  
Furious > Mad Like Hell
 
Dumbfounded > Really Dumbfounded
  Happy > Really Happy
 
Extremely Happy > Tearfully Happy
 
Awe > Exasperated > Frightened
   Sad > Tearfully Sad
 
Really Sad > Bawling
 
Troubled > Thoughtful
 
Normal > Frightened
Surprised > Really Surprised
 
Spaced Out
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There is no one, right way to go about drawing Japanese-style characters, but here are some steps you might want to try for a start: - The Shape One way to start is with a realistically proportioned head. Just a simple, egg shaped oval divided vertically with a line so everything ends up symmetrical. A line to mark the eyes should be half way up, no higher. The line for the nose half way between the eyes and the chin; then one for the mouth about half way between the nose and the chin.
- Exaggerate The trick to this style is exaggeration. Now that you have the start of a normal head, there are a couple major changes. First, exaggerate the shape of the head by sharpening the chin so the jaw tapers down abruptly from the eye level. Then the eyes: Unlike a normal face where the eye line marks the middle of the eyes, the eyes are stretched down to a little above the nose. An easy way to block in eyes is with lines for the upper and lower lashes, and a rectangle for the iris.
- Add Details Start cleaning everything up and adding the details. Simplicity is part of the trick: a small mark for a hint of a nose, keep the mouth small, with a little shadow to suggest the lower lip. Give the lashes some flare and a downward turn and the end. The pupil should be elongated and black, the iris somewhat shaded, and there should be a highlight (on the same side of both eyes). Add simple lines for the eyebrows, and you can block in the hair.
- Clean Up Clean up any stray lines, and add the neck (keep it thin). The bottoms of the ears should be about level with the nose. The hair should be very exaggerated--think big: If there is a part that curls up, it should curl way up. Don't draw individual hairs, think of hair as volumes that can be defined.
The steps are pretty much the same for a profile-view. Don't worry too much about the ears, keep it simple and suggest the structure. The hard part is the profile edge of the face. It might take some practice to get it down, but just remember to keep it simple--it's all subtlety. The forehead slopes down and curves in at the eyebrow. The nose should be delicate, sharp and slightly upturned. The face then slopes gently down to the chin, with a little nick for the mouth. You'll soon start to develop your own style, depending on how much you want to exaggerate the features and how you want to do the details. This is just a quick way to get into it; eyes and hair in particular can be done a many different ways. Look at as many artists as you can and see how others do eyes and experiment with some of your own until you find what you like. For hair you can look at other artists, but also look at real hair and hair styles and see how they can be interpreted in the anime style. And practice as much as you can! The more you draw, the better you'll get, so do as many drawings as you can and don't get discouraged or give up if they don't all turn out--just keep at it. And above all, have fun! 
Lesson 2: Body Proportion 
The hardest part about drawing bodies is getting the proportions right. If you use the height of the head as a unit of measurement, the average human is about seven heads tall. The bottom of the torso is generally about half way up. Women usually have longer legs and smaller torsos than men (that is, if you compare a man a woman with the same length legs the guy will probably be taller). I'm sure I don't need to tell you that longer legs look more feminine. As with faces, the anime- or manga-style body is just an exaggeration of a regular person. The amount you want to exaggerate your figures is up to you and the style you like. Vertically, the main changes are a shorter torso and longer legs. Other than that, you just have to take the features of an idealized woman and make them even more ideal: Long and thin arms and legs (some folks like their legs very long, but it isn't necessary), small body and slim waist (yeah, yeah, and a big chest--but that isn't necessary either), usually the hips are pretty slim, and a long, thin neck. Make sure to keep the head fairly large--the human head doesn't change in size over a lifetime as dramatically as the rest of the body (I'm sure you've noticed little kids have big heads), so the smaller you make the body in proportion to the head, the more "little girl" like your character will be. 
(View a larger version of this image)
- Block it out There are many ways to block out your figure, but I recommend the bubble method (it's the one I use, and I think it's the easiest and most effective). Just scribble in some ovals like the ones in the diagram to rough out the form, keeping it as loose and light as possible. Make sure you get the proportions like you want them before you move on--it's more than a little frustrating to spent a load of time on the details and then realize that those perfect arms you just finished are way too short. If you're not sure about something you can use the proportional diagram to check. If you're worried about getting it right you can start by drawing the head a good size (I did these drawings with a 1 inch head unit) and marking where the arms should reach and where the knees should be and all that. You might also want to draw a line right down the middle so it's easy to make sure both sides are symmetrical.
- Contours You might want to do all the details on the head before you move on; getting the face in proportion to the body can be hard and it's easier to modify the roughed-in body to match a finished face than to try and correct things latter on. Once you have the figure all roughed in you just need to draw the nice smooth contours of a person over the bubbles.
- Clean up Clean up all the stray marks and you're about finished. You don't need to do too much in the way of details--the belly button is even with the point where the waist stops tapering in and the hips start curving out. Breasts can be just simple partial circles, most defined on the lower outside edges. Don't worry to much about hands or feet--they can take a lot of work, but a loose suggestion will usually be good enough.
Now you have the basics of proportion to work with. When you're trying to draw a complicated pose, or elaborate clothes, it can be really helpful to find a picture in a magazine that's close to what you want, or get a friend to pose for you. That way, you can see where one arm crosses the other, or how a leg would look foreshortened from that angle, or whatever. It also makes figuring out how clothes fold or pull a lot easier. Just remember to keep them simple, too: Lots of detail on buttons or zippers is cool, but don't worry too much about getting every wrinkle and fold of fabric--a few simple lines is usually enough. For example, the image below was done based on a picture of a runner in Newsweek; any magazine can be full of dozens of great poses. 
Lesson 3: Eyes Eyes are maybe the most significant element of an "anime" or "manga" style of drawing (I would say that "big eyes" is what usually comes to mind for the majority of folks when they try to characterize what makes something "anime style"). As with all things, anime art is a stylized interpretation of the regular world, so it helps first-off to be familiar with what you're interpreting (that is, take a good look at a regular human's eyes). You should have no problem finding pictures of regular eyes, but here's one for now: 
Note a couple things: - The outline of an eye (created by the edges of the eyelids) is not perfectly symmetrical on the left and right sides or up and down, and has a more complex shape (with curves, folds, and angles) than people often assume in their drawings; and
- Unless someone is looking very wide-eyed, you don't see all of the iris (the colored part), and often not even all of the pupil (the black part). When looking straight ahead, the upper eyelid covers up the top part of the iris, and the lower eyelid comes to or slightly covers the lower part of the iris. Obviously this isn't the case if someone is looking down at their feet or something. The point is to remember that not so much of the white of the eye is generally visible.
Here is an example of basic, simple eye shapes, head on and in profile: 
For the profile, note that the curve of an eye relates to the fact that eyes are spheres about the size of golf balls, but (unless you are some creepy, skinless zombie) most of them are hidden underneath your skin (thank goodness). To those basics shape you can add detail, and get a basic, regularly drawn eye: 
To get from a regular eye to an anime eye, you just exaggerate. Specifically, you enlarge a bit, but mostly it is elongated and exaggerated downward: 
A circle or two of white "shine" is good to convey the shininess and roundness of the eyeball. Also, the upper eyelid shadows the eyeball a bit in typical light, so the upper part of the iris is darker, and even the white of the eye can be shadowed a bit. In profile, note that the eyeball is set back a good bit from the bridge of the nose. In the drawings above I've exaggerated the iris into an oval (but not too much), done a pretty typical eyebrow shape, and an overall medium/simple level of detail on the iris and eyelashes--a pretty typical/generic style. How much you choose to exaggerate the proportions and how you address the details is a matter of personal style. Here are two more eyes, one in a more exaggerated "cartoon" style, and one in a more "serious" realistic style: 
It just depends on what feel/mood and style you want. If you don't have a personal preference of style, you can experiment with different techniques and look at the work of different anime and manga artists you like--see how they do it, and try their styles and mix and match different techniques to develop an approach that suits you. The other thing about eyes and eyebrows is that they are the major way that you convey the emotion of a character (the mouth is the other part, but it plays a much simpler-to-draw, secondary role). Eyes are how you know what someone is feeling (window to the soul and all that). For example, here are three examples: Sad eyes on the top, happy or surprised in the middle (here is where a smiling or wide-open-with-shock mouth would make the difference), and angry at the bottom: 
The shape of the eye conveys part of the emotion--narrower for angry or sad, wider for happy or interested, really wide for shocked or alarmed. The big thing, however, is the eyebrows--flat or rounded for happy, arched and high when surprised, pointing down with furrowed brow when angry or intense, and curving up for sad. It is pretty simple to convey emotion with basic differences in eyebrow shapes--just take a look at little internet "emoticon" smiley faces. You've spent your whole life looking at people's faces and expressions, so you are probably pretty good at groking which emotions cause which expressions, but, when in doubt, for ideas look at some anime or manga pictures, magazine or movie still photos, or just grab a mirror--emotion-induced facial expressions are pretty universal, so just make your own. |
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