Guide To Drawing Anime

The Guide to Drawing Anime
Page | 1
1. Anatomy
Eyes: Basics; (P. 3)
Emotional Expressions (P. 5)
Head: Front; (P. 8)
Side; (P. 9)
!arter; (P."")
Bac#; (P."3)
$o%n; (P."&)
'p; (P."5)
(isc; (P."))
*ips; (P."+)
Eye,ro%s (P."8)
Ear: Basics; (P."9)
-ypes (P../)
0ose: Basics; (P..")
-ypes (P...)
Hair: Basics; (P..3)
-ypes; (P..5)
1olors; (P..))
(o2ement; (P..8)
Ban3s; (P.3/)
Braids; (P.3.)
Spi#ed; (P.35)
1!rly; (P.3+)
Strai34t (P.39)
Hands: Flat; (P.&/)
0ail (P.&3)
-4e Body: S$s(14i,is) (P.&&)
-orso: Basics; (P.&5)
5in3s; (P.&+)
(ale (P.&9)
Hips: Basics (P.5")
-ail (P.5.)
*e3s: Basics (P.5&)
Feet: Basics (P.55)
2. Gear
2009 -1-
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Fantasy 1lot4es:
1ape; (P.5+)
6rmor (P.)")
6ccessories:
7lasses (P.)3)
1lot4es:
Folds; (P.)))
S#irts; (P.)8)
-ops; (P.+/)
Pants; (P.+.)
7ree# 1lot4in3 8e9erence (P.+5)
S4oes: Basics (P.+8)
Sc4ool 'ni9orms:
Boys; (P.+9)
7irls; (P.8.)
7ym; (P.8))
(isc (P.89)
5eapons:
Part :; (P.9")
Part ::; (P.93)
8e9erence (P.95)
3. Details
So!nd E99ects:
8e9erence (P.99)
-ones: Basics; (."/.)
$i3ital -onin3; (."/&)
5eaponry E99ects; (."/+)
(otion *ines (."/9)
E99ects:
Fire; (.""/)
Smo#e ; Explosions (."".)
Forest:
-rees; (.""&)
7rass; (.""9)
S4r!,s; (.".")
8oc#s; (.".3)
P!ttin3 :t 6ll -o3et4er; (.".5)
Screentone $epot (.".+)
(ac4ines:
Helicopter Pro9ile (."3/)
(ec4a<s:
-4e Basics (."3&)
4. Randomness (."&")
-4is 3!ide %as =!st p!t to3et4er ,y Hondros
(lord>4ondros?ya4oo.com)
-4e lessons in t4is 3!ide %ere made ,y:
8io@
Aal@
6s4!ra@
and :liyan Spiro2
Please direct all eBmails to:
rio?man3at!torials.com
From: 4ttp:CC%%%.man3at!torials.comCindex.p4p
2009 -2-
Page | 3
Eye Basics
By Rio
The eyes are said to be the windows to the soul. To draw the eye, you have to understand a few
basics about it.
Let's start with the front view of the eye. The first example to the
left shows the average eye in real life. It's almond-shaped, has
circular pupils, lashes above and below, and lines around the eye
defining the eyeball.
To draw eyelashes, draw it outwards away from the eye and eyelid.
Note that it's a bit curved.
lso, eyelashes are generally taller at the center of the eye and
smaller as it goes to the ends of the eye as shown above right. !T " tall, # " small$
The side view of the eye is shown above. Notice the pupil is more elliptical or ovular than it is
circular. The basic shape of the eye now loo%s triangular rather than almond-shaped.
The eyelashes is drawn a bit differently as well. It still curves away from the eye but the upper
lashes curve upwards and the lower eye lashes move downwards. gain, the length of the lashes
change from tall to short as indicated by T and #.
&ost people draw eyes by drawing shapes. To ma%e it simpler, I found that there are four basic
ways of drawing eyes.
2009 -3-
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1. The first type of eye is the slit. 'haracters drawn with these eyes are usually older people. To
draw this type eye, its' basically a single line drawn a bit upwards.
2. The second type of eye is the almond eye. These type of eyes go to a point at each end. There
are two examples here to clarify that the points in the end do not have to meet and can loo%
different even though they're in the same category.
3. The third type is the pointed end and open center. The center refers to the area of the eye
closest to the center of the face. In this case, the lines of the upper and lower lid are wide apart at
the center and close together at the end.
4. The fourth type is the open end and pointed center. This is the opposite of the third type.
(ide at the ends and pointed near the center.
)elow are various eyes with different shapes for your reference.

2009 -4-
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Emotional Expressions
By Rio
These are various expressions from happy to mad. The little drawing on the side shows the basic
layout of the face when its ma%ing the expression with the bigger drawing. 'lic% on the image
for a larger view.
ngry * +eally ngry * &ad
,urious * &ad Li%e -ell
.umbfounded * +eally .umbfounded
2009 -5-
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-appy * +eally -appy
/xtremely -appy * Tearfully -appy
we * /xasperated * ,rightened
#ad * Tearfully #ad
+eally #ad * )awling
2009 -6-
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Troubled * Thoughtful
Normal * ,rightened
#urprised * +eally #urprised
#paced 0ut
2009 -7-
Page |
Head: Front ie!
By Rio
"tep 1
.raw a circle. Now draw a vertical line at the center of the circle. &a%e hori1ontal dashes at the
center of the circle. bit below the dashed lines, draw another hori1ontal line.
"tep 2
t the bottom half of the circle, draw the 2aw-line of your character that meets at the center
vertical line. It should basically loo% li%e a big 343 in the end. .raw two vertical lines at the base
of the 2aw to ma%e the nec%.
"tep 3
dd the eyes at the hori1ontal line with eyebrows going up to the dashed hori1ontal line. &a%e
your nose along the vertical line and end with the mouth 2ust below it. .raw the ears as high as
the dashed line and about as low as the nose.
"tep 4
.raw in the hair. Notice the hair doesn't hug the circle. Instead, it goes above
it. fter all, hair is poofy5
"tep #
fter you're done ma%ing changes, in% your drawing and erase your pencil
lines. 6ou're done5 Note: To ma%e a thinner face, 2ust ma%e your circle more
li%e an oval.
2009 --
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Head: "ide ie!
By Rio
"tep 1
"tep 2
t the bottom half of the circle, draw the 2aw-line by ma%ing a straight line down and then
moving it upwards to wards the center line. Notice it's the same process whether you're drawing
the head facing left or right.
dd the bac% of the nec% by drawing a line downwards about midway of the other side of the
circle.
"tep 3
dd the eyes at the hori1ontal line with eyebrows going up to the dashed hori1ontal line. #ince
this is a side view, you have to draw your eyes and eyebrows as such.
Now draw an ear originating from the center line. /ars would normally go up to the dashed lines.
,or the outline of the face, use the straight line as a guideline to draw your nose, mouth and chin.
Notice the way a long and short nose differs from each other when drawn.
lso, to add a little prominance to the forehead, 2ust add a line on the upper half of the face. This
way, the forehead won't loo% so flat.
2009 -9-
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"tep 4
.raw in the hair. Notice the hair doesn't hug the circle. Instead, it goes above and around it. -air
is poofy after all.
"tep #
fter you're done ma%ing changes, in% your drawing and erase your pencil lines. nd you're
done5
2009 -10-
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Head: $uarter ie!
By Rio
"tep 1
.raw two curved lines. The longer line will indicate the middle of the face while the shorter one
will guide the placement of the ear.
"tep 2
To draw the 2aw, start from the edge of the circle on the bottom half and go down to the curved
line. ,rom there, draw a line upwards towards the ear mar%. .raw one nec% line near the ear
mar% and the other side 2ust below the chin.
"tep 3
dd the eyes at the hori1ontal line with eyebrows going up to the dashed hori1ontal line. )eing a
7uarter view, draw the farthest eye a bit smaller.
.raw your nose on the mid-line and the mouth 2ust below it.
s for the ear, use the shorter line as a guide to start and end the ear. 8se the dashed line as a
guide for the highest point of the ear.
2009 -11-
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"tep 4
.raw in the hair. +emember, the hair is poofy so it goes above the circle. If the hair is cur short
though, the closer it is to the circle. dd in any 2ewelry, hats, etc at this time too.
"tep #
(hen you're ready, in% your character and erase the pencil mar%s.
2009 -12-
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Head: Bac% ie!
By Rio
"tep 1
center of the circle. bit below the dashed lines, draw another hori1ontal line. !.oes this sound
familiar9 :.$
"tep 2
t the bottom half of the circle, draw the nec% with two lines going down. Now draw the 2aw-
line of your character that ends at the nec%. If you need to, draw your 2awline till they meet at the
center vertical line.
"tep 3
.raw in the ears. +emember, this is the bac% of the head, so you have to
draw the ears as it would loo% from behind. I tend to see it as an
elongated letter 3'3.
"tep 4
.raw in the hair. Notice that in this case the hair covers the 2aw but
doesn't cover the ears. ,or characters with bushy, long hair, they'll cover
the ears too.
"tep #
dd any accessory - hat, 2ewelry, etc. - then in% your drawing. 6ou're done5
2009 -13-
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Head: &o!n ie!
By Rio
"tep 1
center of the circle. bit below the dashed lines, draw another hori1ontal line. !)lah, blah, blah -
same 'ol thing$
"tep 2
t the bottom half of the circle, draw the 2aw line. Notice that this is closer to the circle than if
you're drawing regular front view. .raw the nec% in too which is a bit wider than other views as
well.
"tep 3
)efore you draw in the face, draw two curved lines bending down a bit. 8se
the other two lines made before to guide you. .raw in the eyes, eyebrow,
ear, nose, and mouth using the lines drawn as guidelines.
"tep 4
.raw in the hair. Note that the top of the head shows a lot more than when
face on.
"tep #
dd any accessory then in% your drawing and you're done5
2009 -14-
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Head: 'p ie!
By Rio
"tep 1
"tep 2
t the bottom half of the circle, draw a curve very, very close to the circle.
"tep 3
Now ma%e two lines that curve upwards. 8se the dashed and solid hori1ontal
lines as a mar%er if needed. Then, draw the eyebrows on the upper curve and
the eyes 2ust on top of the lower curve. .raw the nose 2ust on or below the
lower cruve.
The mouth should be about on the solid hori1ontal line. .raw the ears from the
dashed lines to a little bit below the solid hori1ontal line.
#ince this is an up view, the 2aw turns up and points to the viewer. 6ou've
drawn the section of the nec% earlier on step ;. Now draw the 2awline above
that line so the final result loo%s li%e an almond shape.
"tep 4
<encil in the hair of your character. dd any other accessores if you li%e too.
"tep #
In% your wor% and you're done5
2009 -15-
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Head: (iscellaneous ie!s
By Rio
In this section, I'll loo% over several head shots. t this point, I assume you've loo%ed over the
other head view tutorials and you'll notice there is no step-by-step instructions below.
The first head view is a front view but the character is bending her head to the side. (hen you
draw your character li%e this, ma%e sure you 3bend3 your guide lines as well to %eep the face
structure from becoming s%ewed.
The second head view is the a 7uarter view from the bac%. Notice that it is mostly a profile of the
side of the head with the ears drawn at the bac% view.
Third and forth example is 7uite similar as they are both 7uarter views except one is loo%ing
down a bit and the other is more than 37uarter3 view.
The last example to the right is a 7uarter-updwards view. .o you see how
this one is drawn9
The basic lines you should always have is the circle for the head, the
2awline, a line to dictate the middle of the face, and another for the ear.
nd if you didn't notice yet, the %ey to drawing heads is to curve your
guidelines according to which direction your character is facing. Then, it's
2ust a matter of drawing the facial features according to the guidelines.
If you get stuc% on a certain head view, pour through photographs, maga1ines, and even do some
poses yourself. :$
&ost important, practice ma%es perfect5
2009 -16-
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Head: )ips
By Rio
6es, most anime character's have a line for lips but most adult or
older character's usually have the whole lip drawn.
Lips, li%e the nose, can be divided into sections. The ends are
inverts of each other and the middle dips on the upper lips and
rises on the lower lip. 0f course, there are variations to the lips
and can be thin and even curveless. &ale lips tend to be on the
thinner side and females, curvy.
s with the front view, 7uarter and side views of the lips can be
divided into sections. ,or 7uarter views, the middle of the lip is
now near all bunched up at one area and tapers to a point at the
end of the lips. There is still the dips and the rise on the lips - 2ust
closer together. ,or side views, all you have to remember is that
the lips come together to form a point - a sideways 3v3.
Now on to drawing simplified lips...
The left image shows three simplified versions of
lips at profile. Notice how the head corresponds with
the lips: simple lip " simple profile, realistic lips " realistic profile. 0f course, there
is also the middle ground. #ome more examples below at 7uarter view with ranges
from simple to realistic.
If you still have some trouble drawing lips without the three lines to help you as in
the previous page, all you really need is the middle line. (hether the lips is on
repose or is moving, as long as you have the center line to guide you, you should be
fine. .on't forget to erase it though5
2009 -17-
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Head: Eye*ro!s
By Rio
/yebrows has as much character as any part of the face. In anime, though, the eyebrows tend to
be drawn generically ma%ing all character's basically have the same %ind. bove left are several
samples of eyebrows. t the bottom are two examples of the most common drawing of eyebrows
in anime. The three initial examples shows how differences in thic%ness and even the shape of
the eyebrow has a different effect overall.
(hen drawing eyebrows on 7uarter and side views, the shape of the eyebrow must also be
reflected in your drawing. /yebrows at these two points of views are similar all the time so 2ust
%eep it in mind you're drawing.
2009 -1-
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Ear: Basics
By Rio
Basics
-ere's the lowdown on ears. 6es, most characters get the simplified
ear but it comes in handy to %now actual, real anatomy. !hint, hint$
This image to the right shows the two most common ears: the first
has a hanging lobe and the second has the lobe directly attached.
0ther than that, the ear has the outer helix which shows up 7uite
fre7uently in the simplified anime ear.
bove are several views of the ear with the standard ear plus several simplified versions. ,rom
the left: full view, 7uarter view, and bac% view. The bac% view has no simplified drawings as it's
already as simplified as you can get.
2009 -19-
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Ear: Types
By Rio
There are two types of ears, animal and human. )elow are an example of a cat ear and a human
ear elongated !elf, fairy ears$.
#hown above are cat ears and different views of the cat ear !center$. To draw a cat ear, all you
have to remember is that the base is a semi-circle that goes up to a point. The whole ear, viewed
from the bac% is a triangle !or at least a curvy one ==$. (hen viewed at profile, the ear is still a
triangle except half of the bac% view. +emember to add the little tuft of fur inside the ear5
These ears above are 2ust li%e human ears except longer and in some cases also wider. bove are
two versions, one really long, and the other much shorter but wider. t the center are views of
the ear at profile, bac%, and 7uarter bac% view. Long ears also allow the character to move it
much more than normal human ears are able. )elow are some examples of ear movement for
2009 -20-
Page | 21
long ears.
2009 -21-
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+ose: Basics
By Rio
Basics
The nose is one of the most prominent features in the face but in anime's and manga, they
become simplified to the point that is 2ust becomes a line or even a dot in most cases. bove is
an example of the transition from realistic nose to over-simplified.
lthough you may be drawing small noses for young characters most of
the time, one 7uic% way to add age to a character is to draw a more
realistic nose. (hile we're tal%ing about character, you can add 3character3
to a person by the type of nose they have. Thin, thic%, long, short, snub,
per%y, drooping, a7uiline - the choices are endless5 This is especially true
as to the profile the nose creates in a side view.
.rawing the nose in ther 7uarter view has the same concept as
drawing the face or any part of the body, basically. nice
brea%down is shown on the left where the nose is divided into
7uarters. #ince the nose is in a 7uarter view, one 7uarter is on the
other side and is not viewable hence only >?@ is left. )elow the
graphed nose are examples of a normal to a simplified nose.
.rawing the side view of the
nose is 7uite similar to the >?@
view. The only difference is the slight change in position of
the nostril and the nostril wing !semi-circle$. Note that the
point of the nose is still basically half of a diamond.
(hen coloring or toning your nose, though, you have to
remember that it's three dimensional and the basic shading of
the realistic nose pretty much transfer onto the simplified
drawn nose.
2009 -22-
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+ose: Types
By Rio
There are two types of noses, the per%y version
generally seen in young manga characters and the
realistic type for more mature characters and
bishounen characters. To the right are several
examples of the two versions in various drawing
styles. ,urthermore, type one is seen more often on females and type two on males.
side from the standard straight nose generally drawn, there are variations as portrayed above
from curved, bea%ed, and hoo%ed noses. .rawing a different nose automatically adds character
to any drawing.
2009 -23-
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Hair: Basics
By Rio
Basics
The first thing you have to remember is that hair is dra!n pretty much ali%e whether its
straight, spi%ed, or even curly.
The only difference is if it has cur,es or none at all. )esides that, the tric% to dra!in- hair is
ho! your lines are dra!n.
To draw hair that is believable, you have to draw the lines convincingly. To do this, you have to
consider the !idth of a line in relation to another line.
Notice in the first picture on the top that the lines vary in width - !ide at top
and thinnin- do!n at the *ottom. ll hair pretty much abide by that rule
except when you're drawing dreds5
If you loo% at the other pictures, they pretty much wor% the same way. Long
hair, short hair, etc. 'urly hair, on the other hand is a bit different...
(avy -air -* 4ery (avy -* ,ri11y -air -* +inglets
/urly Hair &isected
0a,y hair !or%s li%e dra!in- strai-ht hair except !ith cur,es. .raw them in long
continuous lines and don't forget to draw in the curves while you're at it. &a%e sure you vary the
width's between the lines.
ery !a,y hair, on the other hand, is a bit different. In this case, the lines tend to *e shorter
and may start out of no!here all of a sudden. Notice that there is not 2ust one line or two but
several - this emphasi1es the curl and adds more volume to the hair.
2009 -24-
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,ri11y hair has a different tric% to it. (hat you have to do is to create the *ase curly lines first.
These will be the basic main lines on the hair that define how the hair is shaped. !Thin% outline5$
From these *asic lines you then add complementary lines that put more depth to the hair.
Ta%e a loo% at the fri11y hair example - try to find the main base lines and the complementary
lines beside them.
Rin-lets, on the other hand, only re1uires that you dra! the lines in a cylindrical fashion
formin- a sort of column. 6ou have to consider that if you draw ringlets you have to ma%e sure
that it shows connection as it spirals down to the next curl.
(ore on Rin-lets
-ere are some samples of various ringlets. 6ou'll notice that at certain parts of the ringlet, there
is a profusion of lines. These lines help accentuate the curve of the ringlet.
0ne ma2or point you have to remember is that once you draw a ringlet in one direction - ma%e
sure you stic% to it5 This drawing below, for example, has ringlets going in two directions which
completely ruins the picture. It confuses the viewer and it disrupts believability.
Test 2ourself.
Ta%e at the hair styles below: do you thin% you can draw them now9 Try it out5 !6ou can loo% at
the other tutorials if you li%e...$ "$

2009 -25-
Page | 26
Hair: Types
By Rio
There are two types of hair: one that moves upward from the scalp and another that lies flat onto
the scalp. Let's start with the first type:
Hair Type 1: 'p
This type of hair is stiff and tends to grow outwards from the head. -ere is an example of what it
loo%s li%e. It's the %ind that puff's out. )elow is a variant of this type of hair.
Hair Type 2: Fine
The other hair type lies flat against the scalp, not moving away from the head as the first type.
This is how it loo%s in the example's above. It's the %ind that people usually show on those
shampoo commercials.
)T(, if you didn't get the idea first, you can mix these two types of hair to get some uni7ue
hairstyles.
2009 -26-
Page | 27
Hair: /olors
By Rio
-air color is an important element. It defines a character 7uite well most of the time. )elow are
various types of hair color displayed how you would present them in a manga. 'olors range from
white to 2et blac% hair.
A$ 0hite Hair - Bust the outline of the person's hair
;$ Blonde Hair - dd lines to the hair where you would put highlights
>$ Tone Hair - -air with tones be it physically added or digitally inserted. 'hec% out Tones:
)asics for more details.
@$ Blac% Hair !ith Hi-hli-hts - (hite areas around the top of the head and some near the
bottom if coloring longer hair.
C$ Blac% Hair !ith 0hite Hair )ines - -air lines that would normally be blac% on lighter hair
is now white on blac% hair. Bust thin% of it as an outline of the hair. This can be a bit tric%y
depending on what you're doing.
If you had a regular white haired person, to get this effect, 2ust invert the image - then recolor the
face and other parts with blac%.
I would suggest you color blac% lines around your penciling of your hair lines. It'll save you a lot
of trouble later. :$
2009 -27-
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2009 -2-
Page | 29
Hair: (o,ement
By Rio
0ind Blo!in- 'p
-air moves according to where and how strong the wind is blowing. In this instance, the wind is
blowing up as indicated by the arrow.
The first example all the way on the left show wind blowing strongly causing the hair to go up
pretty much straight. The other example to it's right, though, shows a gently blowing wind.
Notice the hair is more wavy and poofy rather than straight and thin.
The way hair is drawn is affected by what the character is wearing. The
example all the way on the top right, for instance, has a ponytail. (hen
wind is blowing, the band holds part of his hair down and the rest is
being blown. lso, don't forget to draw bangs affected by the wind5
This example on the right basically shows how short hair is affected by
wind.
0ind Blo!in- 3round
(ind, in this section, is moving around a character's head, blowing right. The same rules will
apply to wind blowing to the left as well.
2009 -29-
Page | 30
The first example at top shows hair being constrained from moving
too freely with a circlet. 0n the other hand, the other example on
top shows hair moving freely according to the winds direction.
gain, remember to draw your bangs moving as well5
,or short hair, the example to the right shows strong wind blowing
that even the bangs are greatly affected by it5 #ome people prefer
to seperate the bangs and the hair behind it while others blend the
two together. -ow you draw your character's hair depends on you
in the end.
0ind Blo!in- &irectionally
If you didn't notice in the other two pages, drawing hair will be the same in this case as well -
this time, the character's are 2ust on a side view. To recap, hair flows freely but if something is
%eeping it down, ma%e sure you draw your hair accordingly.
If the wind was blowing in the same direction as the character was facing, the hair would be
covering the face. The longer-haired guy would also have his hair wrapping around his nec% and
2aw.
4ood 5le 4ra,ity
0f course, you can't have hair movement if you don't have gravity included5 &ost hair, when no
wind is blowing, will have a downward direction - duh5 Bust remember, hair can be moved by the
character's shoulder when bending down or the li%e.
0h yeah, when there is no gravity, long hair 2ust floats. 6ou %now, li%e the wavy hair up top9
/xcept more wavy and spread out than 2ust going up.
2009 -30-
Page | 31
Hair: Ban-s
By Rio
)angs are one of the many styles a hair can have. bove, we have an example of how some
bangs are drawn. This is where the hair moves up from the head and then goes down over the
face or around it.
The first one is what I li%e to call the open bang. This ta%es up a ma2ority of the forehead, usually
ma%ing the bang go over to the side of the face instead of over it. The second example, on the
other hand, only goes up at a little area of the head allowing the hair to cascade over the forehead
and face. The second type can come together as close as you li%e.
6ou can thin% of it as opposite ends of the spectrum. 0pen bang on one end and close-%nit bang
on the other end. nd everything else in the middle. :$
-ere, we'll ta%e a closer loo% at hairstyles that have no bangs. -ey, gotta cover everything, you
%now. :$
There are basically two types you have to remember: lineless and pointed. Lineless refers to the
first example above where the hairline doesn't connect to anything. (ell, in actuality it connects
to the head but the hair lines themselves do not or rarely meet. <ointed, meanwhile, is when the
lines do meet. The result is generally a point. )elow are examples of how they would loo% li%e
on a character.
2009 -31-
Page | 32
)angs can create a different loo% for the same character. -air styles varies from straight to curly
hair. 'hec% out some samples below. Notice the mixture of some of the types covered previously.
-ere are further examples of bangs. Notice that some bangs 2ust hang from the head without the
hair going up first.
2009 -32-
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Hair: Braids
By Rio
"tep 1
0D, you're thin%ing 3(hat's up with the
braiding instructions95953. (ell, I thin% that
you'd draw braids better if you %new how to
braid. #o use your own hair, wheedle
someone to letting you braid their hair, or
2ust loo% at the purty pictures...
,irst of all, separate the hair into three
sections. Try to ma%e them the same si1e as
much as possible.
"tep 2
Now, ta%e the left most section of hair and cross it over the middle section.
"tep 3
Now, ta%e the right most section of hair and cross it over the left
most section, now the center.
"tep 4
Now ta%e the center section, that is now the left section
and cross it over the right section.
"tep #
Then, ta%e the left section that was moved to the right
and cross it over the middle section that went over the
right section of hair. ...If this sounds confusing 2ust loo% at the pictures and see
where each hair section is going.
"tep 6
#o 2ust %eep crossing one section of hair over the other until you
run outta hair to braid. If you actually braided someone's hair,
you'll notice that it's pretty much one
continuous line for each section.
#o when you EareE drawing braids, ma%e sure
that they actually connect with one another and
not 2ust drawn for the sa%e of it.
If you didn't notice yet, braids are %inda tear or heart shaped. 0h yeah, you can
simplify the braid and not add too many details if you want. #ome braided hair
2009 -33-
Page | 34
examples are -i%aru from +ayearth, &iyu%i from 6ou're 8nder rrest5, and +anma from +anma
A?;.
-ere are some examples of other ways braids can be put on the hair from very intricate to very
simple drawing style.
#ome more examples of how braids can be used on the hair5
A$ /orn Ro!s - &ostly worn by blac% people with the occasional white
actress?singer?athlete?ghetto girl sporting the loo%.
;$ (id7Braid - This braid starts at the front and stops at the top bac% of the head. I haven't seen
this hairstyle in about a decade but it's been around for a long time5
>$ 3lmost French Braid - I call this the 3lmost ,rench )raid3 because a ,rench braid begins
all the way at the front of the head and continues to the bac%. This starts about mid-way. Notice
the braids are a lot wider than a regular braid.
-ere's some more tips on how to draw braids if the
above instructions didn't sin% in..
This example to the left shows the basics of drawing a
braid at its side. Notice the shape of the braid is pretty
much the same shape of a parallelogram repeated over
and over.
The final image is 2ust basically curved and has more
hair lines added to it for a realistic effect.
2009 -34-
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To draw the hair as it turns to a braid, this is how it is done shown to
the right. (hat happens is that there is three sections that form a
343 shape. 0ne on each side and a smaller one in the middle.
Then from that, the braid begins as shown. )raids are the same
shape as well repeated over and over again. The only noticeable
difference is the detailed lines of the hair.
,inish off a braid as shown in the example below. #ee the second
drawing down below9 That is the basic s%eleton of a braid as it ends
with an item to hold the braid in place. The last two images shows
different ways of tying a braid - rubber band and beads. ribbon
can be used too.
2009 -35-
Page | 36
Hair: "pi%ed
By Rio
"tep 1
.ecide which face view you'll be drawing: ,ront, #ide, Fuarter, or )ac%.
(hich direction will the hair will go9 Left9 +ight9 8p9 .own9 ngles9 !.raw light arrows if
you li%e$
(hat length do you want the hair9 #hort9 Long9 or &edium-length9
These examples here will touch on various aspects of what I've mentioned in the 7uestions
above. Notice they have different head views and different hair directions. They also have
different lengths but you won't really see that till the next page.
nyways, once you decide on those 7uestions above - on to the next step5 !'lic% on picture for
larger image, btw$
"tep 2
To draw spi%ed hair, the lines come together to a point. Thin% of them as triangles or bent
triangles in the case of the side view example. +emember: long hair " long pencil stro%esG short
hair " short pencil stro%es.
,ollow the examples to the right of the drawings for certain hair styles. Notice that some spi%es
are thic% and some are not. Try to vary the thic%ness as much as possible to create interest.
0n the 7uarter viewG to draw the hairline 2ust draw short lines and?or small triangles and 3w3-li%e
lines. 0r draw one straight line of you prefer.
2009 -36-
Page | 37
"tep 3
,inish off the hair: add any extra details, 2ewelry, hair lines, shadows, etc. In% the drawing and
then erase the pencil lines after the in% has dried. 6ou're done5
Now, that wasn't so bad was it9 nd don't forget to experiment, practice, and have fun5 /mphasis
on 3practice3. :$
2009 -37-
Page | 3
Hair: /urly
By Rio
Basics
There are four types of curly hair !from left to right$: wavy, curly ends, fri11y, and ringlets. /ach
of these curly hair types have variations such as how curly it is to which end the hair curls -
inwards or outwards. These variations depends on how you would li%e to ma%e or present your
character. The choice is yours.
The only thing to %eep in mind when drawing curly hair is how you draw your curves. If you
would li%e to draw wavy hair, for example, you wouldn't draw very curly lines whereas if you
drew fri11y hair, you would draw curves one after another. +inglets, on the other hand, has
another factor into it - you have to draw circles that, in the end, ta%e on the shape of a cylinder or
column. 6ou have to %eep in mind that the curl continues all the way downwards - ma%e sure the
ringlet connects as it spirals down, in other words.
part from these advice - practice ma%es perfect5 'urly hair is one of the tric%iest to draw - as I
mentioned earlier - and the only way to perfect it is to practice.
To dra! curly hair follo! the steps *elo!:
.ecide which face view you'll be drawing: ,ront, #ide, Fuarter, or )ac%.
A. (hich type of curly hair will you draw9
;. (hat length do you want the hair9 #hort9 Long9 or &edium-length9
>. ,inish off the hair: add any extra details, 2ewelry, hair lines, shadows, etc.
@. In% the drawing and then erase the pencil lines after the in% has dried.
!,or a more detailed information on drawing hair, chec% out -air: The )asics$
(ore /urly Hair
-ere are some other examples of various types of curly hair. Notice the differences between each
of these samples be it length, curliness, width, hair style !ribbons, for example$, which end the
hair curls, and even the gender of the character.
2009 -3-
Page | 39
+emember, practice ma%es perfect5 Deep trying till you 3get it3. Hood luc%5
2009 -39-
Page | 40
Hair: "trai-ht
By Rio
In this section, I'll be explaining how to end straight hair. If you'd li%e to %now how to draw
straight hair, read the -air )asics tutorial.
Lined up above are four drawing examples of how straight hair usually ends. The first is
strai-ht7lined. This is the %ind that ends on a straight, clean line. ll you need to do is draw a
line at the end of the hair as shown in the close up at teh bottom. The second type of strai-ht
hair endin- is pointed. <ointed end 2ust are that - pointed. They are pretty much 343 shaped and
are usually curved.
The third example above and below shows how the first two types wor% on pony-tails and pig-
tails. <ointed ended tails usually end in one point that loo%s li%e a fox tail or brush end.
straight-lined tail is the same as always.
The third type is open7ended hair. 0pen-ended hair is much li%e the straight-lined hair except
it doesn't have the defining line at the end. 6ou 2ust leave it as is5 <retty simple huh9
2009 -40-
Page | 41
Hands: Front ie!
By Rio
"tep 1
.raw a vertical rectangle with curved edges and
the bottom end slightly smaller then the top.
!Dinda loo% li%e an upside down trape1oid$.
This will be the palm of the hand.
Then draw four small circles at the top end of
the palm. These represent the %nuc%les.
dd two lines at the bottom of the palm to get
the wrist.
"tep 2
Then draw three arcs above the palm and %nuc%les.
&a%e sure the highest part of the arc will be above the
middle finger with the rest going downwards.
These arcs show where each of the 2oints are in the
fingers except the top arc which show where the fingers
end.
8se your own hand as reference if you have to.
/xtend the top most arc all the way down the left side of
the palm to ma%e a left hand palm up !this is what I'll be
doing$ or a right hand palm down 0+ extend the top arc
to the right to get the opposite effect.
"tep 3
.raw ovals one atop each other starting
from the %nuc%les to create the fingers. The
oval length should range from arc to arc.
&a%e sure you ma%e them the same si1e as
much as possible. N0T li%e the figure on
the upper right with one fat oval in the
middle. !Not unless the character has a
disease of course.$
lso, ma%e sure the ovals overlap since
2009 -41-
Page | 42
those smaller circles created represent the 2oints of the fingers.
Next, between the fingers, draw little valleys or upside down arcs to 2oin the fingers together.
"tep 4
t the left side of the palm, draw a triangle
from a little above the middle of the palm to
the base of the palm to start ma%ing the thumb.
.raw a small circle at the left base of the
palm. Then draw another circle at the point of
the triangle. Boin the two circles with two lines
to ma%e a bone.
Now draw two ovals from the point of the
triangle to the arc. Try to ma%e sure they meet
somewhere in the middle.
"tep #
Now draw the thumb based on the ovals and
triangles.
&a%e sure you curve on the inside of the thumb
at the top side of the triangle.
nd ma%e sure to draw the little bump on the
bottom part of the thumb which represent the
muscles.
Next, draw the rest of the fingers by drawing a
line around the ovals.
"tep 6
Now ma%e any ad2ustments to the fingers
before in%ing it. &a%e sure you dry it first
before erasing the pencil mar%s as well.
.on't forget to add some lines at the 2oints
of the fingers !where the ovals meet$ and
any mar%ings on the palm.
Note: &a%e sure the area between the
fingers are not drawn pointed shown at the
upper right. +ather, draw them li%e the
one below it.
2009 -42-
Page | 43
To ma%e this into a palm down hand, 2ust put nails at the top of the fingers and don't draw the
palm mar%ings. nd %nuc%les are drawn with curved lines. Loo% at your hand if you have to5
2009 -43-
Page | 44
Hands: +ails
By Rio
Basics
.rawing a nail is fairly simple. ,emale fingers are
typically slim whereas male fingers are more thic%. 0f
course, a female may have a thic% finger when she is
either a$ portly !obese$, or b$ she is masculine in
nature. .on't forget: an obese person's finger is more
rounded.
s for drawing a nail, the length may vary from very
short to extremely long. If you loo% at the examples to
the left, you'll notice that they also differ in shape
!some are pointed, some curl underneath itself, some
widen outwards, etc$.
"ide ie!
.rawing a finger at the side, you'll notice that the nail
goes downwards midway. Notice also that the nail may
slightly go up, slightly go downwards, or go straight.
Top ie!
.rawing a finger from the top, the nail is basically a
simple shape: triangle, rectangle, s7uare.
Bottom ie!
#ince the nail begins several centimeters from the end
of the finger, the nail will shorten considerably when drawn !and viewed$ from the bottom.
2009 -44-
Page | 45
Body: "&s
By Rio
#.s or super deformed characters are a common image found in manga. The basic frame of the
#. is a big head, big arms, big feet, and s7uished body. #ome manga artists, though, li%e to leave
the head big and ma%e the feet and arms small. !/xample shown below$ 0therwise, shown above
is the basic #. shape and an #. example with closeups of various sections.
The fun thing about drawing #. characters is their flexibility. 6ou can ma%e them as detailed or
as simple as you li%e. bove are several examples of parts of the #. body. Notice how it can
mimic real anatomy but can be reduced to much simpler lines. The simpler the lines, the more
comedic the character becomes.
(hen drawing details, stic% to only illustrating the basic lines and maybe one or two lines of
folds. If you ma%e too many lines, it becomes too realistic loo%ing. (hen in doubt, stic% to the
DI## method !Deep It #imple #illy$.
#.'s also has an anatomical rule. That is the length of the arms should
reach only as far as the top of the head. /ven though in real life, humans
can extend their arm over and around their head, if done on an #., it
doesn't loo% right and completely ta%es away the #. cute factor. ll in
all, #.s follow the same basic rules of anatomy, 2ust dramatically
simplified.
lso, #.s tend to get away with being able to express extremely
exaggerated emotions.
2009 -45-
Page | 46
Torso: Basics
By Rio
Basics of a Torso
.rawing the torso can be a bit tric%y. I'll brea% it down for you in two ways: the first is the
simple 3shou2o3 method and the other is the standard method. The image below is the basic
outline of the upper body in the standard method.
The collarbone is from the shoulder down to the top of the chest !in blue$, and rib cage extending
from the collarbone to 2ust at the waistline !in green$. The chest, whether its a female or a male,
will end at about the area in red. s for drawing the torso in the 3shou2o3 method, it's 2ust
basically using a big triangle5 The triangle points down and generally covers from the shoulder to
the pelvic area. #ince we're only at the torso, it's cut off. :$
&ifferent 8oint of ie!s
The torso in different points of view is done the same way you would do the face or any other
ob2ect. Bust change the angle of your outline and draw from there.
2009 -46-
Page | 47
If you loo% at the images above, can you tell which one is female and which one is male9 If you
guessed the top is male and the lower is female, you're right5 (hy is it9 )ecause of the shape of
the torso. #limmer torso's are generally associated with a more feminine person whereas bul%ier
torso's are connected with a male. 8se this %nowledge to your advantage to create yoru average
stereotypical gender build or create uni7ue situations with athletic, bul%y, females or thin,
femininely-shaped guys. G$
2009 -47-
Page | 4
0in-s
By Rio
Basics of a 0in-
.rawing wings on a human is similar to drawing wings for a
bird. The example on the left is the basic construct of how wings
are drawn. Deep this in mind when drawing your own wings for
your characters.
(ings has soft, smaller feathers towards the top of the wing and
longer feathers towards the edges, particularly the tip. Note the
difference when the wing is extended versus folded and how the
feathers are placed.
#hown to the right is how wings wor% when
folded and extended. There are three bones
with two 2oints. The third 2oint is connected
to the bac% of torso. If you need something
to physically loo% at, chec% out a chic%en
wing next time you come across one... :$
To
the left is an example of wings from the bac%. These are
chibi-wings but they wor% the same way as bigger ones.
)esides feathered wings, there is also the leathery %ind
or 3bat wings3 as demonstrated on the left side. It wor%s
the same as a normal wing except the bones potrude and
it has no wings. #pea%ing of the normal wing, when
attached to the bac%, some artists add additional feathers
from the 2oint connecting the wing and the bac%. This is optional, though, and is your decision to
add or not.
,eathers are fairly easy to draw. The ends can vary
from thin to wide. /nding at a point li%e a double-
edged sword or a single-edged %atana. There are
three types of feathers. The long, the medium, and
the smallest with the fluffy top !a%a 3down3
feather$.
2009 -4-
Page | 49
dding details to a feather is a simple as drawing several angleed
lines from the center. dd brea%s or splits on the feather at certain
areas to add more of a realistic loo%.
Hoing bac% to bat wings, what's shown on the left is the basic
general construct. The bones acts as a wire frame with the leathery
s%in over it creating a webbing that wor%s as well as feathers. The
bottom of the web are li%e drawing hills. -ow flat or 3hilly3 it is
depends on how the wing is - extended or folded. n extended
wing creates a more 3flattened3 hill than a folded wing.
lso notice the pointy bone at the top of the 2oint. This is usually
2ust a bone po%ing out of the s%in. t times, this is illustrated as a
claw or hand-li%e bone shown in the middle. &a%e sure you add the
detail of the s%in wrapping around the bone5
0in-ed Examples
-ere are a couple of examples of wings in use.
2009 -49-
Page | 50
Torso: (ale
By Rio
)asics of a &ale Torso
#tarting off the male torso, we'll begin with drawing the shou2o way which uses the simple
triangle method mentioned in the Torso )asics. )ut first, here is a 7uic%ie differentiation
between male and female bodies...
0n the right side of the first drawing is a stic% figure comparison between a male and a female
body. male's chest is wider than his hips whereas a female is e7ual in si1e, both chest and hips.
That's why female's get the 3hourglass figure3 description. The main image shown is that of a
male 2ust loo%ing at the hip and chest ratio. If it was a female, 2ust extend the hips a bit wider.
The bigger figure is generally how I prefer to draw males in shou2o style with the tip of the
triangle as the hip. If you li%e drawing a male using the stic% figure method with trangle ending
at waist, that is your choice.
,rom the simple triangle is 2ust a matter of adding in details. The next image is a guy with a slim
built. 6our typical shou2o guy. The only details this guy has emphasis his pec%s, and a line for the
middle of his chest and stomach.
The next buy, though, is an average built. I say average since you can draw a bul%ier built than
this image. (hen drawing someone li%e this guy, a little more detail is added plus the torso
becomes bigger and less curvy !i.e. more angles, less round edges$. New details include the
outline of the ribcage.
Fuic%ie upper torso !pec%s$ point-of-view !#'II style5$:
Turned Left 'enter Turned +ight
IEEEIEEEEEE IEEEEIEEEEI EEEEEIEEEI
2009 -50-
Page | 51
(ore (uscles
The neat and 7uic% way to add the impression of more muscle is to add certain lines at paricular
areas. The first being at the pec%s. few additional lines creates 3loo%3 of more taut muscles and
a more built guy. &a%e sure you curve your lines since the pec% is curved and is not flat.
,br* The second is to add the six-pac%5 They're basically s7uare in shape except round at the
edges as shown below.
Third, rib lines at the side adds the lean and muscular loo%. They're li%e adding scales really5
little tric% I do is to add lines on certain muscles for emphasis. nother tric% is to ma%e the
lines to the male body more angular - didn't I mention this in the last page9 (ell, you get the
idea. :$
,or those of you who would li%e to draw a bul%ier and bigger torso than shown above, it's 2ust a
matter of drawing your base torso outline !i.e. triangle$ wider. Now, it's 2ust a matter of practice5
2009 -51-
Page | 52
Hip: Basics
By Rio
-ips are fairly easy but can be difficult at first. )elow shows the differences between the female
and male hips. The female tends to be curvy and proportionate to the torso while the male hip is
rather straight and e7ual or smaller than the upper body.
Let's ta%e a closer loo% at the hip on the side view. ,emales generally have a rounder posterior
with males tending to be less. The crotch area tends to protrude further than the beginning of the
leg and the waist differ for each gender. The female waist goes inwards with the stomach curving
outward. &ales has less of a curve inwards with a flatter stomach. 0f course, these are for slim
people - this would change if the person was fat or old.
)efore we tac%le the butt, lets ta%e a 7uic%ie loo% on how to draw the crotch. t the left most
image, the female crotch is drawn in a big 343 shape while the male crotch is much wider and
drops at the middle. gain, the female is drawn rounded and the male is more angular. The same
can be applied to the bac%side - female butt is rounded, male is more angular. There's a little tric%
to draw the posterior. ,emales tend to have a rounded ( shape that defines their butt and males
2009 -52-
Page | 53
have a more of a stiff ( bordering on two 8's beside each other.
2009 -53-
Page | 54
Tail
By Rio
Tails begin 2ust where the spine ends and loo%s to rest on the posterior. )elow is an example of
cat tails that are the same in basic shape but with minor additions, it becomes a completely new
tail. ,or example, a slee% tail with addition of several lines throughout turns the tail furry.
(hen drawing tails, draw the outline of the tail. Next, add fur lines to the tail if necessary and
any other accessory, mar%ing, or coloring. (hen wearing garments, tailed people have special
clothes that deal with their tail. .epicted below is how a s%irt may be worn even with a tail
present.
#caly tails are similar to to drawing a furless tail except it is generally thic% at one end than the
other. Tails may include spi%es atop and tend to be scaly but does not have to be as shown in the
dar% tail below. To add scales to your tail, there are two methods of doing so. The first is 2ust
cross hatching !J$ and the other is to ma%e multiple 4's. Note that the whole tail does not have to
2009 -54-
Page | 55
show scales all around.
2009 -55-
Page | 56
)e-: Basics
By Rio
Legs are the foundation of all humans - you stand on it every day. G$ &anga legs range from
detailed and buff to generic, simplified lines. #implified legs being the norm. )elow is a row of
legs in the front view. The first leg is typical, showing the simplified version I mentioned. Notice
how the middle is practically straight and has no curves while the outer edge is 2ust the opposite.
The second example, on the other hand, has curves at both sides of the leg. Ta%ing a closer loo%,
the legs are shaped li%e cylinders with one end slightly wider than the other end from hip to
%nee, from %nee to an%le.
t side and bac% view, the same idea applies. The bac% view of the leg tends to have dashes I ? K I
indicating the bac% of the %nee. 6ou can also do the same at the front using one or two dashes
except reversed I K ? I.
0ne important aspect about legs that you must %eep in mind is when it is against another ob2ect
whether if it's a chair or it's own self, the leg tends to widen out. The muscle gets pushed to the
side or upwards depending on the situation. bove are three of such examples.
Top: Leg pushing up on itself.
&iddle: Leg resting on chair.
)ottom: Leg against itself and on the floor.
2009 -56-
Page | 57
Feet: Basics
By Rio
.rawing feet is not a feat at all. (e'll start by going
through the different viewpoints of the foot.
#ide views of a feet are pratically triangular shaped with a
rectangle on top. The straight lines drawn indicates the
an%les and toes where bending occurs.
7uarter view of a foot may loo% tric%y but 2ust follow
these steps:
A. )egin with a trape1iod with rectangle on top.
;. 'ut the pointy end of the trape1iod so it runs pratically
parallel with the top of the foot.
>. )end the end of the foot where the toes should be. dd
toes guideline if it helps you.
@. ,inish drawing by curving out the lines a bit, adding
an%le, and toes.
Not bad huh9
The drawing 2ust below the side view illustrates two feet.
Note that one is slimmer than the other indicating a female
foot and a male foot. ,eet drawing can differ 2ust by a
slight change in width or thic%ness and even length.
,inally, the front view, is also made up of rectangles and a
trape1oid. ll you basically need to do is draw in an%les
and the toes.
#pea%ing of toes, lets ta%e a loo% at how to draw them.
0n the right is a three step process to draw toes. #tarting
with 2ust a guide, draw laying L's for toes. &a%e sure the
inner toe is the biggest with the last being the smallest.
,rom there, draw in the toenails and you're done5
&oving 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.
Hoing bac% to the whole foot, we have
here an example of the two sides of the
foot. 0ne side, if turned, has an arch. The
other side, if turned, does not.
2009 -57-
Page | 5
The side of the foot with an arch faces the inside while the archless side faces outwards. trivial
info but something you have to %eep in mind when drawing the foot.
Lets loo% at another detail you have to remember: the
an%le. 0n the right, we have a 7uarter and a front view of
an%les. t 7uarter view, the an%le is reminicent of a
boomerang while the front views are slight bumps.
Nothing to it5
nother aspect of feet is how they bend. )elow is a
drawing of a foot at rest and a vertical foot resting on the
toes. t the ballerina-li%e stance, note how the top of the
foot is pretty much straight and the bac% of the an%le is
now scrunched up. The same scrunch would occur if the
toe was bent inwards.
0ne last detail about the foot you must ma%e note: the foot curves at the toes. 'hec% out the
example above with the slippers. The longest point is the big toe and grows less as it reaches the
pin%y toe. This is why shoes are generally shaped with a rounded end.
2009 -5-
Page | 59
Fantasy /lothes: /ape
By Rio
)en-th
(hat you first got to consider when
drawing a cape is the length of it. Length
si1e may vary starting from the left -
Extra "hort, "hort, (edium, and )on-.
&ost characters usually has the &edium
and Long lengths though you may go for
something different and try the shorter
two versions. Thin% about itG it would be pretty bi1arre if a %night has a short cape5
0idth
The next thing you should consider about a
cape is it's width. (idth may vary from thin
!i.e. exact shoulder length or a bit smaller$,
medium !i.e. a little wider than the shoulder
- passing the shoulder a bit$, and !ide !i.e.
completely covering the shoulder, possibly so
far as covering the whole body too$.
&ost of the times, characters have the wide
cape as opposed to the thin and medium
widths.
8ull
!The picture is a bac% view of a person$
(hen drawing a cape, you have to consider -ra,ity and force. Hravity constantly pulls down on
a cape as seen in the middle example. In this case, there is usually folds near the nec% where all
the cloth is gathered in semi-circle type lines and several straight lines going downwards nearer
the shoulders.
It becomes a bit more complicated when more than one force is pulling on an ob2ect. 'onsider
the other two examples on the left and the right. In the left most picture, the person is pulling
outwards. These two new forces are more than gravity so as folds now have to be drawn towards
the higher force - the hands.
&eanwhile, the right most example has the person pulling upwards. gain, folds have to move or
be drawn according to that force. Notice that at the bottom, the cape moves upwards a bit since
the rest of the cape is being pulled up.
2009 -59-
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0ind
!The picture is a bac% view of a person$
nother force that you have to consider is the wind.
,irst thing you have to consider is where is the wind blowing9 8p9 .own9 Left9 +ight9 ...9
,rom there, draw the cape accordingly. The right example, for instance, has the wind blowing
from behind the person which ma%es the cape 3outline3 the character's figure and wrap itself
around the person.
The left example, on the other hand, has the cape flapping upwards. (hen drawing a cape li%e
this, all you have to do is draw rounded lines that will in the end roughly loo% li%e a triangle
except with curvy edges.
Types
There are several types of capes: )o!
/ollar, Hi-h /ollar, Hooded, and 8lain.
Low 'ollars are until 2ust beneath the ear.
-igh 'ollars are anything higher than the
ear.
-ooded capes have hoods, of course.
2009 -60-
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<lain capes are 2ust that - plain. Nothing fancy.
s far as drawing the 'ollared capes, you 2ust basically draw two lines on the left and right side
of the face which widen as you go upwards. It will loo% a bit li%e a triangle in the end. To finish
it off, 2ust draw a straight line behind the head that connects that two 3triangles3 on either side of
the face.
<lain capes are nothing fancy - thin% of
the drawing a shirt except that it opens in
the middle.
.rawing hoods are a bit tric%y but all you
really need to %eep in mind is that:
a. There are two 3circles3 around the head.
0ne 3circle3 near the face and another
3circle3 farther from the face.
b. Leave enough room around the head,
especially as you get nearer the nec% as
gravity ma%es the hood rest on the head
and the rest hang down.
c. (hen drawing the hood down, you will have to draw folds that are slightly above the rest of
the cape folds to show that there is a hood attached.
Hold
nother important aspect of a cape is how it is held. The typical ways are t!o points, part of
armor, and one point.
Two points have two buttons or something similar on both sides of the cape which is 2oined by
anything that can pull the two sides together.
<art of armor is when the cape itself is attached to the armor -- typically on top of the shoulder
guards.
0ne point is when the cape wraps around the person completely and is held at one point.
2009 -61-
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-olders are usually 2ewelry, cords, metal pieces, and clasps of some %ind.
&esi-n
Now comes the fun part5 (hen it comes to
designing your cape, you can get pretty creative... or
not. The following three are examplesG the left
drawing being the overall picture while the right
drawing being a select close up.
The left example is a fancier version of the two
point hold with a plate at center with an engraving
and two tassels on either end.
The bottom left is a closer loo% at a one point hold using a ribbon.
)elow is a cape which has some mar%ings on the cape itself. 6ou can a have a simple design
with solid lines or go cra1y with more intricate designs.
ll in all, the loo% of your cape depends on your imagination but if you get stuc%, ta%e a loo% at
some anime fantasy characters to get you started.
2009 -62-
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Fantasy /lothes: 3rmor
By Rio
8arts of an 3rmor
,irst of all, a run down of parts of the armor starting on the
head: !a$ helmet, !b$ shoulder guards, !c$ breast plate, !d$
guantlets a.%.a. arm braces, !e$ thigh guards, and !f$ boots.
+ote: Technically, each piece of armor has various other
more rightful names - shoulder guard is a pauldron for
instance - but for this tutorial, I'm %eeping the names
simple so as it is reconi1able instantly. ,or a more detailed
loo% into armor, chec% out <ictorial Hlossary of rmor
Terms.
http:??www.messiah.edu?hpages?facstaff?gdaub?armor?picgloss.htm
Ho! (uch 3rmor &oes 2our /haracter +eed9
This is the crux of every fantasy character that you ma%e wearing armor. The more armor the
character is wearing, the slower he?she becomes !unless the character is superhuman or in the
case of #layers Horgeous ::spoiler:: - the armor is made of paper55$ ::end spoiler:: and the
better fit !thin% muscular$ he?she becomes as well.
3rmor /om*inations
-ere is a rundown of some combinations you may use when putting together an armor:
!A$ Full 3rmor - all parts a to f
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!;$ Hea,y 3rmor - all parts except a
!>$ (oderate 3rmor - b, c, e, and maybe d too
!@$ )i-ht 3rmor - b, c, and maybe d too
!C$ (inimum 3rmor - d alone, b alone, or c alone
!L$ +o 3rmor - no piece from a to f
0f course you can ma%e your own combination of armor but these are the usual combos.
Be 8ractical
The best advice I can possibly give you is to ma%e sure you draw armor that will actually !or%5
rmor is for protection not for show5 There are special armor made fancier for the more
important peopleG gold plated, etc.G for %ings and nobles but otherwise - %eep it simple for the
ordinary fol%s.
8nli%e popular belief that armor was heavy and cumbersome it was not. well trained %night
will wear a full armor and fight in one easily. lso, %nights usually %now how to use various
weapons besides the swordG they can also use bow and arrow, spears, axes, hammers, lances,
%nives, etc. If your character is not a %night - then show it via less armor, less %nowledge of
weapons, etc.
&esi-n
Now for the fun part: designs on the armor. 0D, I %now I said don't get fancy and that's what I
meant. 2ou may put some decoration on the armor :ust as lon- as it does not interfere !ith
the !earers a*ility to fi-ht. nything else loo%s too impractical, and out-of-place don't you
thin%9
Thin-s to /han-e or +ot
!A$ /mblem on breast plate
!;$ Hrooves on shoulder guards
!>$ Bewelry on armor
!@$ ,ancy color: gold, green, silver, blac%, red, etc.
!C$ #hape of the armor piece
;nspiration
,or some inspiration on armor, chec% out the following lin%s:
&et &useum: rms M rmor http:??www.metmuseum.org?collections?department.asp9dep"@
rador rmour Library http:??www.arador.com?
<erfect rmor http:??www.pbm.com?Nlindahl?cariadoc?perfectEarmor.html
rmour M (eapons http:??www.castles.org?armorEandEweapons?
rms M rmor http:??www.armor.com?
6ou may also chec% out fantasy anime li%e &agic Dnight +ayearth and Lodoss (ars or even
films li%e Lord of the +ings.
2009 -64-
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3ccessories: 4lasses
By Rio
Front ie!
Loo% at the picture to the left. (hich one loo%s
right to you9 The face with the s7uare glasses or
the round one9
If you said the s7uare one, good for you5 Now,
why did you choose it9
The right one, when it comes down to drawing it, is what you would probably draw considering
perspective... but that's exactly why it is wrong5
6ou'll notice a line drawn behind the heads- this is the hori1on. /verything points bac% to a point
in the hori1on - usually something at the bac% of the head when drawing someone facing you.
)ut when it comes to drawing glasses, perspective does not apply unless the glasses is overly
huge for the person's head or exaggerated.
In real life, the lens of the glasses themselves are small causing the wire frame extending to the
ear to bend outwards as in the first example.
N0T/: Though this may be the case, you can
brea% this rule.. loo% below for reason...
The male on the left is an example of a improper
way to draw glasses generally. The only way this
would pass muster is if the lens are supposed to be
bigger than is normal - for example, if the glasses
was passed down and is too big for him, or he is
unfashionable and prefers big glass lens than the
more hip smaller glasses.
The female on the right the right way to draw glasses. In this case, though, it goes a bit further
and the bend of the wire frame is exaggerated. (hy, you as%9 Loo% at her. (hat do you thin%
about her and her character because of her glasses9
3ns!er:
(hen I drew her, I had a character in mind who was a bit messy, and un%empt. Notice her ruffled
2009 -65-
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hair and the glasses emphasi1e this fact even more. 6ou can further speculate that she is a goody-
goody student, a bit on the nerdy side, and a good-natured girl. Is this what you thought also9
$uarter ie!
.rawing 7uarter glasses is basically drawing
parallel !lines li%e II that never meet$ and
perpendicular !lines li%e EIE or a T that meet$
lines.
Bust draw a line going across the front of the face
that will be the lens of the glasses.
Then, draw lines that are parallel to each other on either ends of the 3lens3 line.
,inish the picture with the shape of the glasses and erase the lines going across the face.
The male here has thic% glasses- notice you can't
hardly see the side of the glasses on his right side9
It's being bloc%ed mainly by the frame.
The female there has circular type glasses- the
typical type of glasses that manga artist's draw. It
shows the eyes openly unli%e the glasses of the
guys which hides them.

In another note, you can use glasses to emphasi1e character- for example, wouldn't someone
wearing thic% framed glasses seem li%e he is hiding something9 0r maybe isn't that out-going9
The female, with her wide and open glasses loo%s li%e the upbeat, out-going type, right9 In
effect, glasses are not 2ust for decoration or for seeing purposes- it also adds character.
"ide ie!
The only thing to %now about side glasses is that
you draw a long rectangular-type shape for the
sides of the lens and a line coming from the lens
to the ear.
<retty easy huh9
The male facing the left has lens that is only a
line. It is best to draw a thic% line or else the lens will fade into the masses of hair.
If happen to draw a mas% or uncommon glasses,
remember that you have to draw the sides of the
glasses accordingly as well5 The samples I've
shown are only normal-type glasses.
2009 -66-
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lso, if you happen to draw glasses with a sort of this lens li%e the girl over there, ma%e sure that
when you color it, it's not the lens you're coloring but the frame of the glasses5 0n a side note,
remember to color the frames according to the character's personality5 6ou'd thin% it'll be funny
or weird if that guy there had a pin% frame- wouldn't you9
Hlass studies in all views in one pic:
2009 -67-
Page | 6
/lothes: Folds
By Rio
There are five types of folds: 'olumn fold, Inert ,old, 'oil ,old, .rape ,old, and Interloc%ing
,old. /ach has their own attribute and apply to certian situations. -ere's the brea%down:
A. 'olumn ,old
column fold occurs when fabric is suspended from one point. They are
cone and cylinder shaped. (hether the fold is hanging straight down or is
blown sideways, if it's from one point, it's a column fold. 'olumn folds
examples can be found at shower curtains, window curtains, towels, table
cover, and bed s%irts.
To draw column folds, notice how it all bunches up at the one point and expands outwards. &a%e
sure that if you have any patterns, it follows the fold.
;.Inert ,old
Inert folds are inactive fabrics that is lying on a surface and is no longer
being supported. #ome examples of inert folds are bottoms of long
curtains, clothes lying on the floor, and a bridal dress train.
(hen this occurs, the clothes may interloc% as shown on the right hand side of the drawing. Inert
folds also creates column-li%e bends on the clothes as shown in the other example below.
>. 'oil ,olds
'oil folds may be found wrapping around a cylindrical
form. The coil shows movement of the form underneath
it. They may be found around the arm, leg, and torso.
'oils are most distinct when the cloth is tight around the
form5 If you have loose pants, for example, none or very
little coils are present.
@. .rape ,old
.rape folds are li%e the column fold except, instead of one point, there are two points present to
suspend the cloth. The two points create a 383 shape in between. &ost obvious examples
includes scarves, capes, hoods, and curtains swagged onto a curtain rod.
2009 -6-
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C. Interloc%ing ,old
Interloc%ing folds is when one fold fits inside the other and can be found when someone is
wearing a scarf or has a rolled-up sleeve.
2009 -69-
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/lothes: "%irts
By Rio
(hen drawing s%irts, you have to determine the length and the width. Length of s%irts varies
from long !an%les$, semi-long !calf$, average !%nee-high$, and mini-s%irt !thigh$. s for width,
only two: wide and loose or thin !i.e. form-fitting$.
bove are several s%irts ranging from simple to detailed. The best way to start drawing a s%irt is
to draw a simple outline and add details after. To avoid ma%ing your s%irt loo% stiff, you add
curves to the hem. The more curves you add, the more, in this instance, column fold lines appear.
.rawing pleats for school uniforms are 7uite easy. The lines are all basically straight with
pointed edges unli%e regular cloth which has rounded ends when folded.
2009 -70-
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(hen drawing s%irts at the side view, 2ust remember that the front is flat and the bac% has a curve
for the posterior. 0ther types of s%irts includes slits at the bac% for professional s%irts and at the
side for more a casual or ris7ue loo%. There are other types with more flounces and the best way
to find more examples are in catalogues or even online5
2009 -71-
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/lothes: Tops
By Rio
'lothing tops has four types: long sleeve !sweaters, dress shirts$, medium !sleeve ends a little
below or above elbow$, short !t-shirts, baby-t's$, and sleeveless !tan% top$.
Nec%lines varies 7uite numerously but a few include collared, school uniform !I have no clue
what they are called...$, v-nec%, and the scoop nec%. ,or tan% tops, most have the simple string
but there are variations li%e the halter top which goes around or ties at the nec%. ,or the average
tan% top, note that it rests 2ust at the 2oint where the shoulder begins.
#leeves varies 2ust as much as the nec%line5 The top two are a close fit
sleeve and a loose sleeve. Note the difference in fold lines and curves. The
next is a cut sleeve which can be seen in modern clothes for women for a
dressy loo%. The other, meanwhile, is more on the casual side for the
prevalent baby-t's, sporting an extra short sleeve.
2009 -72-
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Last, but not least, is the bac% of the top itself. 8nli%e the other areas of the top, the bac% remains
fairly simple - a near exact version of the front except lines indicate the shoulder blades and the
nec%line is closer to the nec% usually.
Tan%s and other dressier tops, though, may have the scooped
bac% exposing the shoulder blades and the spine.
s with any clothing, the best bet is to loo% through
catalogue's and other references for ideas and variety.
2009 -73-
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/lothes: 8ants
By Rio
Types
There are five types of pants. The standard one, all the way on the left, is a common pant worn
by males and females. The pant is pretty straight. The second, is a boot-cut pant which is a little
wide at the bottom to allow for boots. The third is tapered pants that is also non-gender specific.
The ends of the pant becomes smaller, following the line of the leg. ,ourth, is the bell-bottom
pants that has recently become fanshionable once again. The last pant, ta%es the bell-bottom
further - called a flared pant.
-ere we have the profile of the typical pants. Note how all but the standard pant follows the
shape of the leg at least till the %nee and either flaring out or continuing to hug the leg.
/uts
<ants are cut in different ways. -ere are three
common forms. The first is a classic-ruffed pants,
which has folds at each side from the belt down. The
folds a inwards and all that is viewed is the seam
where it was stitched.
The second is the flat-front pant. This is a slea%
2009 -74-
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loo%ing pant which is form-fitting and 7uite contemporary loo%ing.
Third, the reverse-pleat pant is li%e the first except the folds are inside-out. The fold is
reminiscent of uniform s%irts.
The first and third pant bulges out at the hip due to the folds, ma%ing the hip area loo% bigger
than they really are. &ost wear it 2ust because it of that reason - mostly in the color blac% since
it's 3slimming3.
)en-th
s any right-thin%ing female out there, it's all
about the length - from the belly-button, that is5
+ecent fashion has seen a popular trend with
the 3dropping3 of the length in 2eans. Normally,
regular 2eans button at the waist. New additions
now go lower at the hips !called hipsters$ which
is about an inch from the belly-button and the
ever-low, low-cut 2eans. Low-cut 2eans are for
the daring girl as when she bends over,
underwear is usually viewable at the bac%side
!thong ta-thong-thong-thong$ and from personal experience, even the butt crac% and more... OEO
&ales only have the option of the waist length 2eans, unless they're wearing baggy 2eans which
can fall anywhere from 2ust below the waist to their butt.
8oc%ets
n important part of any pants, poc%ets has their own styles.
)eginning with the front poc%ets, there are four types. The first is the standard
scoop found in a pair of 2eans. #econd is often used for dress pants where the
poc%et is or is almost seamless with the side of the pants. Third, is the small poc%et
also found in dress pants with 2ust the lip of the poc%et visible. Then there are
pants without poc%ets also most often seen in dress pants and the differently
designed pants such as one's that lace up at front.
Turning to the bac% poc%et, typical bac% poc%ets are the
3shield3-li%e shapes found in practically all 2eans. Then
comes the s7uare with flap poc%et usually found on
cargo pants. 0f course, there is the pant without the
bac% poc%et.
Then there is the cargo pant poc%et. The cargo pant, as
2009 -75-
Page | 76
well as the carpenter pants, has an abundance of poc%ets - with two additional ones at each side
of the leg. Though some poc%ets are flat, normal cargo pants tend to have a fold at the middle.
(hen someone stores something in it, it bulges out. /nclosures for these types of poc%ets range
from velcro, buttons, and sometimes 1ippers.
&etails
There are a lot of pant variety out there, most of them for women. <ants with glitter, stripes,
plaid, and even different cuts. bove, there is a wide leg pant similar to the traditional Bapanese
clothing and then there is the 2umper.
<ants may also have cuts at the side or the
bac% for females.
To the right illustrates how pants lay or
don't lay on the shoe. (ide bell-bottomed
pants and tapered pants tend not to fold up
unless it is really long. <ants tend to have
a slight fold at the bottom unless it's baggy
in which case, a lot of folds are present.
2009 -76-
Page | 77
4ree% /lothin- Reference
By <al
E,anthe = Thanos
/vanthe - The palla falls somewhere between an over-garment and a chiton. It is
fixed at the shoulders, leaving the arms bare, and is not attached at the sides but held
at the waist with a belt and fastened at the hips. /vanthe is wearing a variant of the
palla called pallulae, which stops at the waist. both are distinctly feminine.
Thanos - wearing the 'hlamys, the standard garment of the young people
of thens. This was made from a rectangle of material, but falls in
triangular points. The 'hlamys could be worn in a variety of ways. Thanos
has it fixed on the chest, almost at the throat, and thrown bac% over the
shoulders. -e also has a hat from Thessaly at the bac% of his nec%, indicating that he is
a traveler. -e is a messenger, carrying a
caduceus !I'm assuming that's the funny thing in his hand$ and wearing leggings rather
than shoes.
/lothin- &etails of a +o*le!oman
4ree% /oiffure >Hairstyle?
The hair could be curled on the forehead and at the sides or parted in
the centre and drawn bac% in waves to a chignon at the nape. The word
chignon refers to a manner of twisting the hair into a %not either at
the nape or nearer the crown of the head.
Hree% women also wore a fillet round the brow and tuc%ed the bac% hair
into this. -air was fasted by ivory or gold pins P<I' to comeP &any
women wore wigs or false hair added to their own to alter the shape of
the coiffureG they also dyed their hair and decorated it with flowers,
2ewels, stephanes !9$, and bands of material.
2009 -77-
Page | 7
delphos - &ore primitive cultures tended to wear caps instead of hatsG caps were easier to ma%e
and fit. round, fitting cap was worn, in different forms, by all the ancient civili1ations. The
Hree% pilos !shown here$ was typical and almost identical was the +oman !and /truscan$ pileus,
both usually made of felt.
Dali%a - fifth century )'
4oleta - #traw hat, petasos style
.ymas - felt petasos slung round nec% by a cord
/vander - fifth century )'
Laria - 'hignon covered in colored scarf, fourth century )' !from The /ncyclopedia of world
'ostume, .oreen 6arwood$.
lcander - t a feast, relaxing
2009 -7-
Page | 79
3dditional ;nfo:
The -istorical /ncyclopedia of 'ostumes, lbert +acinet !AQ;C-AQR>$ S ARQQ )estseller
<ublications Ltd.
&y notes: Thanos, /vanthe descriptions are modified from this boo%, pgs. ;;-;C. I %now some
of his pictures are not 7uite accurate, namely the colors, and he lets his pre2udices cloud his wor%
- or so the introduction !by ileen +iberio$ tells me.
-istoric 'ostume in <ictures, )raun M #chneider S ARTC .over <ublications, Inc.
&y notes: (onderful illustrations. I'm afraid I might not be able to do them 2ustice. :-< The
pictures in here were originally issued periodically between AQLA and AQRU in &unich.
The /ncyclopedia of (orld 'ostume, .oreen 6arwood, SARTQ .oreen 6arwood.
&y notes: Hreat information, great pictures. 8nless stated otherwise, all 7uotes in the Hree%
section come from this boo%.
PPPInstruction provided by Val. S ;UUL ll rights reserved.PPP
2009 -79-
Page | 0
"hoe: Basics
By Rio
The %ey to drawing shoes on any foot is to determine the view !eye level, down view, etc.$, what
position they are, and what shoe the person is wearing. )elow is a line of eye level feet in
different positions. If you are uncertain how to draw the foot, chec% out the ,eet tutorial.
The first row shows the most common feet positions from dead-on forward, 7uarter, and
combination of forward M parallel, and 7uarter M parallel. Notice that the an%le height is high
compared to the ground. This is great for drawing feet with heels. If you're going to draw feet
with flat soles, 2ust lower the level of the an%le compared to the ground.
)elow it is a row of the same feet with shoes drawn on it. (hat you basically do is draw the foot
outline, draw the shoe over it, and erase the foot outline. closer example if shown below:
4iews of the foot is not limited to eye level and can come from above. -ere we have two other
views generally drawn from an angle and straight down view.
0nce you get the hang of these three factors, drawing any shoe is a cinch5
2009 -0-
Page | 1
"chool 'niforms: Boys
By Rio
In this section, we'll ta%e a loo% at the ever popular Bapanese boy's uniform.
Types
There are four types of uniforms you can draw your charcters in: A$
traditional military uniform, ;$ shirt and pant, >$ sweater vest with
shirt and pants, and @$ business suit !not shown$.
Traditional military uniform is usually the standard outfit drawn in
manga followed by the shirt and pant and business suit types. Not
many vest with shirt and pant uniforms but it's an option.
Let's ta%e a closer loo% at each of the uniforms starting with the
traditional one. &ostly, the traditional uniform tends to be dar%
colored !i.e. blac%$ but there are those that are lighter li%e gray. They
usually have a white band at the collar and possibly a little poc%et either at the chest area or
down in front of the hip. #ome have no poc%et at all.
The shirt and pant uniform is another popular combination. The shirts tend to either be long
sleeved of short. 6ou can opt to change between the two depending upon the weather !cold vs.
warm$.
The sweater vest with shirt and pants also has the same flexibility with the option of long-sleeved
shirt or short. 6ou can choose to ma%e your vest into a long-sleeved sweater with a shirt
underneath during the winter months though.
Last, business uniforms are the other common re7uired outfit. #uits tend to be plain !i.e. no
pattern$ and is complete with shirt and tie. Tie is a must in a business type uniform which can be
one plain color or striped. If you really want to get fancy, you can go a step further by putting in
a pattern li%e a fleur-de-lis or starburst of some %ind. #uits may or may not have buttons up front
and on the cuffs depending on the style you're going for.
2009 -1-
Page | 2
/ollars
,or variety, you can change minor details on the male uniform. ,or instance, on traditional
uniforms you can add edging, buttons, and even insignia's. #hirt and pants uniforms can have a
tie re7uirment or not - and for emphasis on character, can be left open. #weater vests may also
have a tie re7uirement if you choose.
8ants
Than%fully, boys does not have as much variety of
pants unli%e li%e girls and their s%irts. There are
basically three pant types they can wear: classic-
ruffed, flat-front, and reverse-pleat.
These three are the basic pant types that men and
women wear. t a closer loo%:
The first is a classic-ruffed pants, which has folds at
each side from the belt down. The folds a inwards
and all that is viewed is the seam where it was
stitched.
The second is the flat-front pant. This is a slea% loo%ing pant which is form-fitting and 7uite
contemporary loo%ing.
Third, the reverse-pleat pant is li%e the first except the folds are inside-out. The fold is
reminiscent of uniform s%irts.
The first and third pant bulges out at the hip due to the folds, ma%ing the hip area loo% bigger
than they really are. &ost wear it 2ust because it of that reason - mostly in the color blac% since
it's 3slimming3.
,or more info on pants, chec% out the <ants tutorial.
"hoes
)oys, li%e girls have a set variety of shoes they may wear. Technically, boys should wear loafers
but in manga, anything goes so they may also wear boots, and snea%ers. ,or the really slac%er
2009 -2-
Page | 3
type, you could even have them wear sandals. :$
2009 -3-
Page | 4
"chool 'niforms: 4irls
By Rio
In this section, we'll ta%e a loo% at the ever popular Bapanese girl's uniform.
"tandard "ailor Top
-ere are variations of the standard girl's top. &ost common designs are the first or second in the
row. #hort sleeves, either regular or puffed. The third is an altered uniform uncommonly seen.
The fourth is something you would see worn during the colder months.
Loo%ing at the bac%, the sailor outfit normally tends to have the first design. The others are not
usually seen in the real world but can be used in your manga anyways.
Hoing bac% to the front of the shirt, to the left are the
most common bows. ,irst is the standard bow,
second, the straight ended bow, and third, the pointy-
tailed bow. The standard bow can be drawn in
different ways. It could be plumped up as shown,
slightly drooping, or you can come up with a
different design. (hen ma%ing a character, you can opt to %eep the bow untied if the person was
in a rush or doesn't follow school rules. 6ou could also choose not to have a bow for the uniform.
The "hirt Top
The other school uniform top females
wear is the shirt as shown to the right.
6ou can change the tops 2ust by changing
the collar. It can be rounded, pointy, wide
or narrow. Henerally, they are white but
you can change the color if you prefer.
2009 -4-
Page | 5
"%irts
&oving on to the s%irt, length differ from mid-thigh, upper-thigh, %nee, and mid-calf. /xamples
to the right are transparent so you can get a better idea of their placement, how they are drawn,
and how you can draw them.
<leated s%irts may be drawn in many ways. #ome
prefer to draw a straight line along the bottom.
0thers stagger the length a bit while another may
go a step further by depicting the folded part of the
s%irt. The thic%ness of the s%irt can be either thin
or thic% - the thic% version shown at the far right.
0ther s%irts apart from the standard pleated one
may be used instead. The lower half of the drawing
shows some examples with various waist or no-waisted s%irts, with folds, or no folds at all. The
far right has an unders%irt or slip which you may choose to draw or not.
"oc%s and "hoes
Hetting to the bottom of things, we'll move on
to the soc%s and shoes. #oc%s vary in length
and in style as shown below. Loose soc%s are
one of the common worn in manga characters
as well as the standard short and long soc%s.
#hoes may vary depending upon your
characters personality but females usually
wears flats, dress shoes, and the occasional snea%ers with their uniforms.
2009 -5-
Page | 6
5ther 'niforms
side from the common #ailor 8niform, there are other uniforms as shown above: )usiness
4est, #uspender-Li%e, pron-Li%e, and #weater 4est.
The business vest usually consists of a long-sleeved shirt, a tie, and a business vest of course.
6ou can pair it with a short sleeve top but it ta%es away from the professional loo%.
#uspender-Li%e uniform is made up of a shirt top and a one-piece s%irt and suspender. 6ou've
probably seen this in the /vangelion series with a slight modification: the s%irt. lso, you can
change the width and cut of the suspenders as you see fit.
The third type, pron-Li%e is named because of the s7uarish top that is reminiscent of an apron.
The s%irt and apron-li%e top can be seperate or pieced together. bow is optional but it usually
comes with a short-sleeved top !puffed sleeves optional$.
The last shown is the #weater 4est. Not as strict loo%ing as the )usiness 4est but comes right
after. 8sually with long sleeves, it can have a bow but can also have a tie. s for the length, it
may be long as shown or it can be shorter if you prefer.
0f course, we can't forget the business-li%e uniforms with the use of bla1ers. bove we have
several designs from long, short, and normal-length bla1ers. Notice how the length can affect
how the s%irt is drawn. If you loo% closely, they all have varying nec%-ties?bows.
2009 -6-
Page | 7
bove, we continue with another bla1er example with a slight difference: the ends is pointed and
she is wearing a bow tie - a rather big one. )eside her are two other girls. These two show a
combination of bla1er and vest !business and sweater$.
8uttin- ;t 3ll To-ether
Now that you've seen everything there is to %now about girls uniforms, you have the option of
mixing and matching for a uni7ue design. part from the initial design, color also plays a part.
,or example, standard sailor tops are white with red ribbons but you can change it to a dar%
colored shirt with a different colored bow. The s%irt as well does not have to be a single color.
Instead, you can ma%e it have a plaid pattern. Ties can be stripped and other changes can be
changed as well.
2009 -7-
Page |
"chool 'niforms: 4ym
By Rio
-ere we'll ta%e a loo% at the uniforms
worn during gym class at Bapanese
schools.
E,eryday 'niform
The basic gym uniform for girls consists
of a t-shirt and a buruma or bloomer. Let's
start with the top. It can be let out loose
or tuc%ed into
the buruma
and it usually
has a circular collar. 6ou can change the collar though with a 4-nec%
or the tennis-style collar with buttons if you really want something
not-so-common.
To draw the top, you can draw the body first and then draw the shirt
around it. ,rom there, add the wrin%les according to the body's movement
and shape. 8sually below the chest, sometimes above it and if the top is
tuc%ed in, at the bottom. 'lic% on the image to the left for a bigger view.
The anatomy was not erased for a clearer idea how to draw the top and wrin%les.
#pea%ing of the bac% view, here is a loo% at the bac% with the loose and tuc%ed shirt. Normally,
in most anime's and manga's I've seen, the girls wear their shirt tuc%ed in their buruma. Though
that may be 2ust for easier drawing and uniformity. &oving on, let's ta%e a closer loo% at the...
Buruma >Bloomer?
There are really two types of buruma. The first has a thinner side than the other. Loo%ing at the
first two drawings above, there are two buruma's. The first is further down from the belly and
rises high from the thigh. The second type stretches out coming closer to the belly button and to
the thigh.
,or a better loo%, the next pair of drawings shows this much clearer. s you may notice, there is
a seam at the sides.
To draw the buruma, you 2ust basically draw the bac% as normal, then run a slightly curved line
at the waist and across both of the butt. 0nce done, you can shade it in or ad2ust it too loo% li%e
2009 --
Page | 9
the buruma is over the posterior and not wedged in. ==GG
-ere are some more views of the buruma at different
angles. ,rom the bac% sitting down, draw the butt in a (
as normal and color or tone it in.
,rom the side, ma%e sure it rises at the center where the
seam is located.
Re-ulation "!im!ear
The girls bathing suit are designed as shown to
the right. one-piece suit with the top going
further down and covering a ma2ority of the
hips and butt but not completely.
There are seams at the side li%e the buruma but
also at the bottom and center of the bac%. lso
there is a seam at the shoulder as shown below.
If using a swimming cap, long haired girls will
pull their hair up and hide it under the cap.
"horts
)oys gym clothes for swimming and regular gym class are less complicated. )asically shorts and
a top for gym and trun%s for swimming. To the right we have several ways of drawing shorts for
guys. The first has simple elastic waist, and no special feature. This would be the usual
swimming trun% used. Next, the short has a bit of edging at the end and has a minor slit at the
side. The elastic waist even has additional lining for that extra detail. Last, we have the short
2009 -9-
Page | 90
with the draw-string.
The next step to consider when drawing gym attire for boys is the length of the shorts or
swimming trun%. There are three types from left to right: short, average, and long. #hort lengthed
shorts are generally seen for those in trac% !running, 2ogging, etc$ while the longer short is more
for the bas%et ball player. verage si1ed shorts are good for all around general sports usage. In
the last image, there is a spandex underneath the short which you may or may not choose to have
your character wear.
&oving on, above are some examples on how to draw shorts at side and bac% views. Note that
the butt is not as pronounced as on a female and is less curvy. minor note, most shorts these
days tend to have the 3racing3 lines at the side which gives that sporty loo%.
Tops
&oving on the the tops guys wear during gym class, there are two types: the tan% and the shirt.
The tan% tends to be loose and long allowing ease of movement. #hirts is similar to the female
shirt and you can differ the collar much li%e the girls are well. lso, you can have the guys wear
it out or tuc%ed in.
In manga, I've seen specific uniforms worn by the boys when playing a certain sport. ,or
instance, when they play soccer - they would have a soccer uniform. )as%etball, a bas%etball
uniform, etc. It's up to you if they wear specific clothes for specific games but I would suggest a
standard uniform for general gym and swimming and specific uniforms for those in the school
sport teams.
2009 -90-
Page | 91
"chool 'niforms: (iscellaneous
By Rio
There are miscellaneous items that are part of the school uniform and some of them unli%ely at
first. Let's ta%e a loo% at some of them...
Boo% Ba-s
Let's start off with the bag. Bapanese schools generally have a specific bag
all students must use. )ut in cases of manga, boo% bags can be changed
to emphasis the personality of the character. Three types of bags
generally used are: regulation !standard$ boo% bag, trendy boo% bag, or
the sporty bac% pac%.
The regulation boo% bag are blac%, with a snap in the middle and two
straps at each side. The sides are folded but can expand for boo%s and
school supplies. &ost Bapanese students would try to personalise their
property, so normally you would see stic%ers, pins, and whatnot on their
boo% bags. This is against school rules but they do it anyways. :$ ,or
bringing out your character, try differing your boo% bag from unmar%ed
to a 2a11ed up for a more presonal effect.
6ou could also ta%e that a step further by giving your character a trendy boo% bag possibly made
by a well-%nown fashion designer. It can be offset by some sort of design, shape, or even features
li%e a cellphone holder at the side.
I don't %now if they have or do it in Bapan but I had a boo% bac% similar to the standard boo% bag
when I was young but I had a strap so I could hang it over my shoulder instead of carrying it by
the handle on top all the time !7uite tedious especially when I was lugging around a bunch of
boo%s$. 6ou could deign to add a strap to your character's boo% bag as well.
The sporty boo% bag is another 3loo%3 most used for the athletic or non-strict character. In
merica, two popular companies most sought after as a boo% bag was /astpa% and Bansport. It
had one big bag at the bac%, a small poc%et inside of it sometimes, and a smaller poc%et up front.
The bottoms are thic% leather for durability. (hen ma%ing a sports bag, ma%e sure to use some of
these features or add more for your li%ing.
/aps
Not usually worn by high schoolers but the elementary students and
younger is the cap. The cap is of a yellow color and similar to the
3fishing hat3 with flapped down lid all around. 6oung children wear
these hats in real life but I've seen manga with a completely different
design altogether. 0ne such is 'L&<'s 'ard 'aptor #a%ura with the
use of the sailor hat !to go with the sailor uniform =.=$.
2009 -91-
Page | 92
"chool ;nsi-nia
In merica, schools have a mascot which becomes the schools personal 3mar%3 that identifies
them from the other schools. In Bapan, I've found that private schools generally tend to have their
own insignia. few public schools as far as I noted had their own insignia as well. It is much
li%e the coat of arms of /urope used by the nobility to identify their family. )elow are a few that
I came across in the net.
s you can see, the school emblem can vary and be presented on the uniform from a patch as in
the first image or even as subtle as buttons. The style also varies from traditional loo%ing
emblems !with a motto too5$, to more modern and fluid loo%ing li%e the third image from a
school called &ura. The emblems can also be found on the school flag as seen below.
#chool emblems are typically over the right breast if in patch form and usually on the business
type uniform. 0f course you may change this and be creative li%e the buttons up above or move
the insignia at the side of the arm. I've seen manga characters have it on the collar of their
uniform, boys and girls, or even on the tie. &ore dress-down uniforms li%e the sailor uniform or
shirt and pants for the boys tend to not have their school emblem embla1oned on their uniform
but you may opt to give your characters that distinction if you li%e.
2009 -92-
Page | 93
0eapons 8art ;
By Rio
Types
(eapons vary from sharp metallic ob2ects to dull-edged staffs. !&odern weapons excluded...$
The most important info you need to %now about weapons is that they are mainly rigid. If you
loo% at the lineup above, most weapons are can be drawn using a ruler. 0f course, there are some
blades that are curved and for the machete, it's practically the whole thing5
"hapes
The basic shapes of these weapons are as shown above. They aren't extravagant for a reason -
they show the basic ma%eup of their type of weapon. ,rom left to right: wooden staff, sword,
axe, !magic$ staff, rapier, machete, scythe !or sic%le$, and spear.
(eapons not drawn to scale with each other, btw. :$
,rom these basic shapes, you can add your own creative touches and embellishments. I
recommend that you are at least familiar with these basic shapes before you begin changing
them.
"i@es
+egarding the si1e of a weapon, if you change and
play with it, you get a different loo% for the same
item. Loo% in part on the right. The sword is
much wider and and is a lot shorter than in the
previous page. 'onsidering it's new si1e, it would
be called a 3short sword3 than 2ust 3sword3 as
they are much longer. The axe next to it also is
more in the line of your average garden axe. The
distance of the blade from the handle and its
design was redone. /ven though they are the same
weapon, they are different.
I must mention that one of the most popular trends
these days is to 3supersi1e3 small weapons into
2009 -93-
Page | 94
big, huge hun%ing ones. If you've never seen one before !=E=GG$ 2ust thin% of a shuri%en drawn
much larger and is basically the same height as the person wielding it.
&esi-n
.esign is one of the most obvious effects that seperates your own weapons from another artists
weapons. #ection ) in the drawing above shows various designs based on the base weapons in
the past page.
The scythe, for example, is much more stylistic and has more character than the base weapon.
(ith 2ust a few bends on the blade, an attachment from the blade to the handle, and even the
slight bend of the handle gives it that distinct loo%.
6ou don't have to ma%e something as completely different from the base form. /ven simple
additions as the grain and wear of the wood to a staff adds character. Bust a slight change of a
swords handle from cloth wrapped to coil wrapped adds that slight difference. The end of a
magical staff is all you really need to change, for instance, to ma%e that difference.
2009 -94-
Page | 95
0eapons 8art ;;
By Rio
8oint of ie!
0ne of the most crucial part of drawing weapons is drawing
them in different points of view. (hen drawing anything, point
of view is always there whether it is obvious or not.
To the left shows a sword at different points of view. The center
is a sword as it would be viewed at eye level, or from the top
down. The others are how it would loo% in other angles.
Notice that at angles, space changes from thin to wide affecting
how a weapon is drawn - thinner handle and wider blade tip. ,or
more info on perspective, chec% out these other tutorials: 0ne
<oint, Two <oint, Three <oint <erspective !tutorials being re-
done. (ill be lin%ed when completed. =E=$.
0eapons in 3ction
0ne of the most fun part of drawing
weapons is when they are in the thic% of
battle5 The 7uic%est way to draw a weapon moving is to draw motion
lines. &otion lines are basically 2ust several lines drawn from the ob2ect
moving to whatever direction it was moving from.
,or instance, the drawing to the right has motion line coming off the
sword and to the left. This ma%es the sword loo% as it is being swung
from left to right. Note that the motion lines have a bit of curve to it
ma%ing the swing of the sword at an arc. If the sword was moving
hori1ontally, left to right, the lines would also be moving from left to
right, hori1ontally.
The other way to show a weapon in action is to exaggerate and 3move3 its physical shape by
curving it, usually in an arc, as well as the motion lines right after it.
2009 -95-
Page | 96
bove are two examples on this method at two different angles. Loo%ing at the two, the motion
lines may vary from 2ust the end of the weapon itself or to include surrounding areas as in the
case of the first picture.
There are some people who 2ust use a 3strea%3 effect when drawing weapons in motion. The
3strea%3 is li%e those in popular pictures of cities and vehicles in motion. ll that remains are
lighted lines. nother way to thin% of it is an after image. (hen the item moves too 7uic%ly for
the eye and it leaves an image 3imprint3 of where it was before. If this sounds li%e mindless
babbling - then forget I mentioned it. :.
nd that is pretty much it to weapons5 ll that remains is being able to draw different types of
weapons - axes, staffs, etc. - and all you really need is a ruler and some imagination for that. :$
2009 -96-
Page | 97
0eapons Reference 1
By Rio
Lets start of the reference section with swords, since they're so popular. Instead of showing the
full sword, I focused on the hilts of various types swords to give you some detailing ideas.
En-lish "!ords
There are various /nglish swords from -unting #words, )roadswords, +apiers, )ac%swords,
and 'ross-hilted #words. #ome of these are rather fancy and some are plain. +emember, what's
important is that you ta%e some ideas and features of the sword you li%e and imcorporate it into
your own weapon and ma%e it your own5
2009 -97-
Page | 9
&a--ers
The following are dagger hilts, specifically called Hunner's .agger.
2009 -9-
Page | 99
Bo!s
&oving on to a different pace, here are some bows
from various cultures. 6ou may notice that most use
double string with a patch or similar in the middle to
pull bac% the arrow.
&ore detail on certain bows:
C. )ra1il - --shaped cradle
L. <araguay - (oven pouch
T. )urma - ttached handgrip
Q. )urma - ssymetrical bamboo bow, the width of
the bamboo staff serves as a spacer for the double
string
2009 -99-
Page | 100
R. 'ochichina - ssymetrical reflex bow and ivory cradle wedged into the spilt rattan string
AU. #iam - .ouble bow and 3window3 construction
AA. 'hinese - <ellet-bow
(iscellaneous 0eapons
-ere are other various weapons you can use as reference.
2009 -100-
Page | 101
"ound Effects Reference
By Rio
I have here a list of sound effects that I've either encountered in manga's or made up myself.
They are divided into the action the character is doing. It'll also give you some ideas and get you
started on your own sound effects. ,or example, some of the sound effects are pretty much the
same except for one slight spelling change li%e whap and wap or tok and thok.

,or more sound effects, refer to your favorite manga or comic boo%. Listen closely to sound
effects in shows, real-life, the radio, and even a boo%. /xperiment a bit and develop your own
sounds5
0ind
hyoo
hssshhh
hwooo
hsssttlrssl
howl
hurrrrr
oooo
shashaa
shaa
shhhhiiiiii
shhhhshh
ssss
ssttlrsstl
woooshh
woosh
wissshh
)au-hs
a yu% yu%
ha ha haaa
hah hah haaa
huh huh huh
heee hee heee
heh heh heeeh
Hits
boin%
blam
ba-boom
bang
boot
boom
bong
boff
bop
ba-rang
bam
be-bap
bap
bash
blash
broum
cho%
choom
cha%%a
clomp
clun%
crunch
crash
doom
fac%
fud
sha%%tt
shwo%%
sho%
splach
shto%
splat
shwa%
slam
shudd
shoom
slam
sha%
shudd
spap
smac%
smash
tomp
top
ta%
thud
tu%
tun%
twa%
t%
tmp
toom
thomp
thudd
tong
tho%
5ther "ounds
...
...9
...5
..59
JW=XY5
b11b11
blip
beep
breep
braoouummm
clin%-clan%
dweee
ehh
eee eee
fwoom
grrr
gulp
grumble
gee-whi1
gee
grit grit
gee1
2009 -101-
Page | 102
har har har
hyee hyee hyee
hya% hya% hya%
hmm hmm hmm
8wah ha ha
(ah hah haaaa
6a haa haa
Vah ha ha haa
"cream
%%
hhh
yaaa
/eeyaa
/ee%%%%
Hyahh
Hyeee
Hyeeeiii
Hyaaa-ah
-yaaa
-iyaaa
-aaa
-yaaaiii
T--yaa
8aaaa
8waaa
6eeee
6aaa
Vhyaa
"toppin-
fwa%
fump
frach
fomp
fwap
foom
fap
fwop
fon%
fa%
foop
fa-wump
glomp
2u%e
2a%%
2ab
%wap
%ra%-lash
%reee-unchh
%runch
%long
%ratoom
%a-tang
%lon%
%room
%ronch
%on%
%a-blang
%ra%
%oom
%ang
%resh
%op
%runc%
%lop
%a-pow
poi%
pa%
pop
plap
po%
tap
tuff
ta%
to%
tho%
to-om
twi%
tp
twong
tup
thump
whump
who%
whomp
wha%
won%
whum
whoop
wham
whap
whammo
who%
wa%
whon%
whop
whoch
wump
1hab
1udd
8antin-
huff huff
hu-uff hu-uff
pant pant
uff uff
vmf uf
hmph
heehee
heh heh
heh
hrr
hmmm
hurrump
heeee
hubble-bubble
%e%%
mmm
mmm-hmp
mmm-hmmm
oooo
ooohhh
pssspsss
psstpsst
rrrr
rrrhumm
ring-ring
rriiipp
sigh
sheesh
ssshhsss
tin%
tittle tittle
tee hee
ting
uhhuh
uhh
uh-oh
ummm
varoom
voosh
2009 -102-
Page | 103
eee%
s%ritch
screeeetchh
s%reel
s7ueee
vreech
1-ee%
pi%
plo%
po%e
pap
putt
ping
poing
pow
po%
pwop
yammer
yeessh
11t
1oaam

2009 -103-
Page | 104
Tone Basics
By Rio
&ost of you will probably thin% there is only one type of tones. The one used in manga where it's
ready-made and all you have to do is cut and paste it onto the comic- well, you're wrong. 6ou
can actually ma%e your own 3tones3. Let's get a closer loo% at them...
Type 1: Ready7(ade Tone
These tones are the ones used a lot in Bapan but hardly used in merican and /uropean comics.
These are ready made tones you can buy in pac%s and use on your comic by cutting and pasting
it on. These are called Letratone's, Vipatone's, or 2ust plain screen tones which come either cut
and paste or transfer version.
.oing this saves time but it'll cost a pretty penny to buy all those screen tones. There are all types
of tone's out there and they usually come in a pac% such as a )asics pac%, #hou2o pac%,
)ishouo2o pac%, etc. In somes cases, you can even buy them individually. 6ou'll have more
variety if you buy them from Bapanese Letraset distributors or an merican based company that
imports li%e 'omicTones.
#o far, 'omicTones is the only company that I am aware of that sells Letrasets at the 8#. s for
any others abroad, I don't %now but loo% around the internet, as% around, and you'll probbaly get
wind of some others.
Type 2: (a%e 2our 5!n AToneA
There are two types in this part, one you can draw yourself and the other you ma%e digitali1ed:
. This one really has more to do with controlling your wor% more. This allows you to set your
own mood and other effects than the standard ready-made tones.
There are different styles of tones you can ma%e yourself: flat hatching, directional hatching,
flatcross-hatching, directional cross-hatching, loose stippling, and tight stippling. There are
others you can ma%e yourself but those are the ones with names to them.
This type of toning ta%es time, patience, and precision. It'll save you some money from buying
the screen tones though.
). There is also the tone that you can ma%e yourself in the computer. ,rom what I've seen, it
loo%s exactly li%e the Letratone's except digitali1ed.
This is a cheaper alternative to buying the tones but it's preferably more suited for digital
comics... unless you have a printer that has a high print rate !dpi and all the other amenities$ so
you can publish your digitali1ed wor%. Nonetheless, try it out and see what you can come up
with.
2009 -104-
Page | 105
'hec% out our guest tutorials #creentone .epot by shura where she gives some free digital
tones and a few tips on digitally toning your artwor%. 6ou can also chec% out our .igital Toning
tutorial.
2009 -105-
Page | 106
&i-ital Tonin-
By Rio
#o you want to digitally tone your wor%9 -ere, I will cover only the use of seperate tones much
li%e the tangible Letratone and similar tone sheets. There is another way to 3tone3 by using the
grayscale and?or gradiant feature !if your software has it, anyways$ plus some others but that's
another tutorial. nyways, moving on to the fun stuff, let's get started5
1. 4et 2ourself "ome Tones
The first thing you have to do is to get yourself some digital screen tones. These tones may be
scanned from patterns, originally made, or digitally made using the grayscale?gradiant feature.
shura has a neat collection available in our Huest Tutorial section called #creentone .epot. ,or
more tones, here are a few other sites on the net you can get some tones:
Oepher #creentones http:??psychobob.xepher.net?screentone1?
'eles 'here .igital #creentones http:??operafloo1y.com?digitone?
+atbat's Tones http:??sideT.gundam.com?ratbat?deleter?tones.html
Diraseldon #creentones http:??www.geocities.com?%iraseldon?screentones.html
&andichan's ,ree 8se Tones http:??shounenaigo.%eenspace.com?tone?
'artoon 'lub http:??screentone.topcities.com?screentone.htm
2. ;tBs 3ll 3*out )ayers.
Now that you have some nifty tones, you've got to have a graphic software that can do layers.
Layers allow you to have multiple images stac%ed together, each seperate from the other, on the
same picture. It's much li%e animation where they have the bac%ground and several cells on top
for the characters and special effects li%e fog.
#ome software's that have this feature is dobe <hotoshop and 'orel .raw. There are definitely
others out there but you should be able to accomplish the same result regardless of which
software you'll be using. #pea%ing of which, I will be demonstrating how to tone using
<hotoshop.
3. 4ettin- "tarted
Now that you've got some tones and a nice software, open up your drawing in that software.
&a%e sure the lines are all cleaned up, crisp, and the bac%ground is crystal clear. If you've
already done that, unloc% your image by creating a copy. To copy your drawing, 2ust drag and
drop your drawing layer onto the paper icon on bottom of the Layers window as indicated by the
arrow below.
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Now that you have an unloc%ed layer, you can edit your image such as color on it, move it, and
all them good stuff. &a%e sure you delete the loc%ed version, btw. 6ou don't need it anymore.
Bust drag and drop it onto the garbage icon 2ust right of the copy layer button.
'lic% on the &agic (and !stic% with spar%s$ on your toolbox and select areas in your drawing
that you will tone. In my case, I'll be toning everything so I deleted all the white within my
artwor%. (hen you select an area, the &agic (and will select everything of that same color. If
you have a bro%en line, it will select colors outside of that line as well so manually use the /raser
if you want to avoid that problem. -ere's my finished cleaned artwor%:
4. 8uttin- in Tones
-ere comes the good part - putting in the tones5 #elect an area you want to tone first. ,or me, I'll
do the suit. .ecide what tone you want to use. 0pen that tone file, clic% on the &ove button on
your Toolbox !arrow$, and drag and drop it over your drawing. If it's not under your drawing,
drag and drop the tone layer below your drawing in your Layers (indow.
/xample: shura's marble tone used for suit
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#. Editin- Tones
&ove your tone around till you have it positioned in the correct place by using the &ove tool . If
your tone overlaps another area that will be toned, 2ust erase the excess tone with the /raser tool.
Deep putting in your tones, position them, and erase any excess off until you have all the tones
that you want in your drawing.
/xample A: /rasing hair tone....
/xample ;: ll tones have been added "$
6. Finishin- 5ff
dd highlights and shading by 'Hing in the appropriate color over the tone. &a%e sure you do
the colors on another layer and not on the tone layer itself. If you do so, you'll be erasing the tone
and it's going to create a lot of problems for you - especially if you made a mista%e or change
you mind.
-ere's what I did for my example:
#hades: I decided to dar%en his shades but wanted to %eep the
speedlines a bit visible so I used @UX opacity brush.
-air: 0riginally, he was supposed to be medium haired but I changed
my mind and I lightened up his hair. I 'Hed his whole hair in white and
2ust erased the parts that were in shadow !exposing tone below$.
0ther: I also erased some other white areas for his nose, ear, chin, and under his 2aw. I also
moved him to the right side to create more impact and added a blac% gradient at the far right.
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0eaponry Effects
By Rio
(eapons themselves are fun to draw but no weapon is better than the one
imbued with magic or other special property. (ell, at least I thin% so... G$
The first thing you have to %now about creating effects is that anything
goes5 6up, you can pretty much do anything you want5 )ut if you'd li%e to
%now where to start, lets loo% at some basics.
(eaponry effects 2ust comprises of adding additional lines for added
impact. 'hec% out the image to the right. This is your standard sword
drawn with the motion line at the tip of the blade. )elow, there is the same
picture but with 3effects3 added.
Li%e I said, the only tric% to ma%ing weaponry effects is the lines you ma%e. #ome effects are
similar but has a different overall impression. /ven though the first and third image on the top
row are basically the same types of lines, applied a lot or thinly, they're not similar overall.
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Try experimenting with striaght lines, curvy lines - and even stars and dots if you li%e5 6ou never
%now what you may end up with. :$
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(otion )ines
By Rio
&otion lines are a crucial part of drawing any type of action
within your comic. They vary from the simple one line to the
more complex, full bac%ground motion lines. To the right is an
example of the single line of motion. 0ne could add more lines
but one gets the point across 2ust fine.
There are four ways to depict motion, the first being the line
showing the path of motion as shown below. The second method
is to draw multiple images of the person or thing in action in different intervals of movement
along with the standard motion lines !second image below$. The next image builts on the
previous wherein the multiple images now are less defined and become strea%s. The last method
is the most widely used in manga's: the moving bac%ground.
The strea%ed bac%ground ta%es the reader and moves along with
the depicted sub2ect at motion. This creates a sense of being a
part of the action with the sub2ect.
Then there is the other motion line that is part of the ob2ect
moving as depicted to the right. The motion line should move in
the direction to where it is going. The elbow, for example, if
moving to the right, the motion line should also move similarly.
If the elbow was moving diagonally, the strea%s would follow
suit. real life example would be to swing glow stic%s around where an after image trails the
actual location of the light itself.
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Fire Effects
By Rio
To begin drawing fire effects, lets ta%e a loo% first at how to draw a fire:
The general shape of a flame is tear-shaped as shown on the candle to the far left. Iconically, this
is the simplist form of a flame but you may progress in detail depending on your personal
drawing style.
To go to the next level of detail, you 2ust add smaller tear-shapes at the top of the simple flame
shape and combine them to form the next representational level of a flame.
,or those interested in the realistis style, you simply add more of the tear-shapes all around the
basic flame shape. &a%e sure you A$ vary the si1e of each tear for variety, ;$ curve your lines as
no standing flame is straight, >$ ma%e sure each rising flame has a general upwards motion, and
@$ add extra detials li%e embers and a 3second3 fire layer which is lighter in color than the outer
fire edges. +emember, depending on the situation, these may change. ,or example, if fire is
churned out through a blow-torch or similar way - it will come out straight because of the force
pushing it outwards.
To draw embers, there are basically four shapes:
A$ Triangle - typical ember representation
;$ .iamond - usually bigger than the traingle embers
>$ .ots - for the minute, hard-to-see embers flying in the air
@$ 'rescent - for the burst of fire that basically loo%s li%e it's 2umping and swirling in the air
giving it that curved, crescent loo%.
/mbers may ta%e on its basic form but a few 2agged edges are usually added for the extra
distinction.
Let's ta%e a closer loo% at how a fire spreads out... -ere to
the left, notice the mar%ed arrows. These show you the
general direction of fire if the source is from the ground and
isn't contained or beside anything.
If the flame was beside a building, let's say, only half of the
shape would be drawn:
)uilding --* "II?E Z-- A?; ,lame
,or non-#'II literates: (e starts with T arrows for a full
flame but beside a building, it would only need @ arrows
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starting with the bottom arrow.
,or fire exploding in mid-air, you would have a circular fire using two of the flames shown
above - one atop the other.
To draw fires in a line, you basically
2ust draw several basic flame shapes in
a row and add in details. This is a
great bac%drop for characters with a
lot of anger in your manga. It also
comes in handy if you're doing a
flame-following-the-fuel-scene.
ll in all, what you really need to
remember when drawing fire is A$ how detailed you want to draw, ;$ if you'll add embers, and >$
what direction the fire will go. If you're having trouble drawing the fire correctly, 2ust
conceptuali1e how you will draw your fire by using basic shapes first and then going from there.
If you're really stuc%, ma%e sure to chec% out these
flame studies put together by Vion#avior5 Includes:
'andlefire, gunfire, welding fire, roc%et fire, campfire,
2et fire, flame thrower, and dragon fire.
Notice how the same fire can be used for different
purposes such as the flame thrower fire can also be
used as a dragon's fire breath.
s for the colors of fire, they are usually orange to red
and light blue to dar% blue?purple. 6ou can expreiment
with the colors as it suits you so feel free to go cra1y.

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"mo%e = Explosions
By Rio
In continuation of the fire effects tutorial, let's ta%e a loo% on how to draw smo%e and explosions.
#mo%e, when no wind is present moves steadily upward in a column, usually widening as it
grows further from the flame. bove, you can see the progression of drawing smo%e. #tarting off
with a basic cone shape, you 2ust built and stac% semi-circles with varying si1es and you've got
yourself a simplified version of smo%e.
If you would li%e to ma%e a more realistic smo%e stac%, 2ust as you would detail a tree, 2ust add
multiple short lines and straight lines to add the wispy loo% of smo%e. To the right of the example
are some close-ups.
(hen there is a gush of wind, smo%e will become engulfed and
curl up in itself to form a sort of mushroom-li%e effect.
This can also be used to display a tremendous explosion but ma%e
sure to straighten out the 3wind3 lines and push the smo%e up to
become flatter.
&oving on, to create explosions, all you need to do is add two
important elements. A$ 0utward force and ;$ billowing smo%e
effect as shown below:
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,or the outward force, it is usually depicted in a slim columnar form with a lot of short multiple
lines but can also be drawn with straightened lines for those extra powerful explosion.
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Forest )andscapes: Trees
By Rio
.rawing landscapes ta%es many items and puts them all together in one scene. To master
drawing forests, we have to start with the most important part: drawing trees.
Tree Basics
Let's start off with some simple representation of trees.
-ere we have the basics of drawing a pine tree. 6ou begin with it's simplest form, a cone, and
built upon it by dividing it into stac%ed cones, and finally adding detail: leaves and trun%. (hen
drawing the leaves, ma%e sure you follow the curve of the cone as shown in the third example.
-ow you depict the leaves depends on how you want to draw the pine tree. There are basically
two ways to draw a pine tree. The first using a general representation of upside-down 383 and
3v3 and the second, drawing a series of short lines which when put all together becomes a pine
tree.
)ranches of a pine tree vary. I've used the common 3christmas tree3 type as an example but there
are pines who's branches go up or remain straight and parallel to the ground. It's best if you
become familiar with each %ind so your landscapes won't be so monotonous.
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The same idea can be applied to the common, everyday trees: deciduous trees, or the trees who's
leaves can change color as the weather turns colder. 6ou start off with the basic circular shape,
expand upon it, and add in the details. .epending on the tree you're drawing, change the basic
shape as you see fit as shown in the examples above.
ma2or point about these trees is that the shape varies per tree and it's type. Their branch
generally goes upward towards the sun but there are cases where it bends downwards as well.
Tree &etails: Treetop = )ea,es
If you would li%e to draw more realistic trees, let's get into the
details starting with the leaves. To the left we have several ways
of drawing deciduous tree leaves.
A$ 'urvy, ;$ )oxy, and >$ #pi%y are all you need to %now when
drawing leaves. .epending on the method you choose to draw
the leaves, you create the personality of the tree.
#tudy, practice, and experiment with each %ind to get a feeling
of drawing each type. &ost commonly used is the curve with
boxy coming in second. #pi%y is very effective when drawing
leaves pulled by a strong wind and is generally used to draw
pine trees as well. &ore on wind a little later...
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The %ey to drawing realistic trees is to layer
the leaves. Layering adds dimension and the
tric% to that is to overlap your lines.
Note to the right how the simple illustration
of a part of a tree starts off with three circular
shapes in various si1es.
Now ta%e that same simplified shapes and
expand it with more curves varying in height
and
width - and you have one believable tree.
If you want to go a step further, you can actually draw in
each leaf as shown in the bottom. Bust ma%e sure to follow
the same curve and layering throughout.
The layering can also be applied again with the leaves
overall. Ta%e a loo% at the tree drawn on the left. There is
leaves up front, in the middle, and in the bac% or far bac%
as I have it labeled.
(hen drawing, it helps to draw in branches which help
that sense of space and dimension.
The draw leaves up close, they usually are attached to a
thin branch as shown in the lower example. The leaves
thenselves can be aligned perfectly as in the left drawing
or staggered as on the right.
There are various types of leaves depending on the type of
tree. #ome common shapes are the tear shape are shown
on the left. 0thers include three pointed leaves, circular
leaves, long leaves, and 7ueer shaped leaves such as the triangular shaped gin%yo leaf.
Leaves can have smooth edges but tend to have spi%ed, rugged edges. The leaf thic%ens at the
ends and thins near the leaf.
&oving on with leaves, here is a neat tric% in drawing them:
,irst, draw the basic shape of the leaf, and add in the details. )elow, we have examples of
drawing a diamond shaped leaf flat, bent, and really bent - or in this case, blown.
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In the blown part, all you do is draw
one line starting with the bac% end or
longest line. dd the line that bends
ma%ing a one-thic% ended 3'3 and
finish off with the bottom half.
.epending on where your leaf is being
blown, left or right, 2ust draw your
long line accordingly.
Tree &etails:
Branches = Trun%
Let's move on to the bare-bones of the tree. -ere is a depiction of a tree as seen in winter. To
draw a tree li%e this, you start off with the tree-trun%, add the thic% braches, then medium-si1ed
branches, and finish off with thin branches.
(hen done, 2ust erase all the
interesecting lines for smooth connecting
branches.
)ranches start off thic% and taper off at
the end. &a%e sure you remember this as
you draw your branches.
,or more distinction, bend your tree's
branches or curve them. There are
gardener's who shape the direction of a trees limbs. The most common example of this are in
bonsai trees. This means that you can intertwine branches in a braid pattern as well. #ome
garderner's growing fruit trees apply the same controlling method to shape trees to form in a
menorah li%e shape.
To put some character on your branches and wear 2ust add lines. 6ou can
do this by drawing a series of short or long lines as shown above. Bust
ma%e sure you leave white-space and not cover your whole tree with these
lines.
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(hile we're covering branches, let's ta%e a 7uic% loo% into drawing wood grain. ll you 2ust
draw is s7uigly lines that do not intersect though they can 2oin into one. <atterns include eyes,
numbered A, and long lines as in number ;.
It may ta%e a bit of practice drawing these and your best bet is to study your floor, wooden table,
or anything showing a grain if you're having trouble.
Tree &etails: RootsC 4rassC = 0ind
Last, but not least is the base of the tree.
To the left are the most common ways roots are drawn. Li%e branches, they
start off thic% from the main tree trun% and thin out. The roots themselves
can be above ground or be buried below - and possbly underneath some
mulch.
Bust li%e the main branches, the roots may have bumps, bends, and odd
shapes. ,or a more realistic loo%, 2ust add lines as mentioned above with the
branches.
Now, let's move to wind and grass. (hen wind blows, especially the strong
ones, it moves the whole tree to which ever direction it is blowing.
#trong winds also can rip leaves off the tree. 6ou can show this
by drawing dots and leaf shaped lines in the direction of the
wind.
Near the trun% of the tree, grass can grow pretty tall in or
around the roots as shown to the right.
(hen drawing roots, remember that there are roots in the bac%
of the tree and not 2ust at the front.
If you are drawing reallistically, it ta%es more time to draw than
simpler drawn trees. &a%e sure you cover all these bases and %eep practicing till you get it right5
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Forest )andscapes: 4rass
By Rio
Next in line for drawing forest scenes is the other most basic plant life you must %now how to
draw: grass.
&ra!in- 4rass (ultiple 0ays
6ou can draw grass in three ways from simplistic to realistic. Lets' ta%e a loo%:
A. #hort stro%es - the most easiest
and simplest way to draw grass is
to draw bunched up pencil lines
drawn in certain directions.
&ost grasses are either drawn
having one whole patch of grass
going AQU[ or half a grass ending
at RU[.
To draw them, you have to draw
7uic% stro%es to get that nice spi%y
grass point. lso, if you loo%
closely, the tallest grass is at the
center and lessens in si1e as you
go outwards.
,ollow the arrow to the right and
you'll see an example of this grass.
;. 'one grass - moving up from
the short stro%e method, you have
to add another step to your stro%es
and move your hand downwards
to form a bended cone.
&uch li%e the simple grass, you
must vary the grass si1e. Note in
the example to the right that
grasses can be single bladed if it
suits your purpose.
>. +ealistic grass - what's different about this grass from the other two is that it becomes a bit
more complicated and you really have to watch where each blade is going especially when you're
drawing bunched up grass as you would find at the beach. 0ne thing that hasn't changed is that
even realistic grasses must have tall grasses at the center and shorter at the ends.
The most important aspect of drawing grass li%e this is bending the grass. t the bottom, I show
you two ways of drawing bended grass. There are other ways to bend a grass but it's best if you
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try it out and experiment by yourself. +emember: always start off with the 3bac%bone3 of the
grass or the one straight line that ma%es up the grass as I start off on both examples.
4rass and the 0ind
I covered grass and wind at the tree's tutorials, but lets go bac% to it again. 0n the top example,
this shows grass affected by wind as you would see it at eye level. ll you need to do is draw
your blades of grass bended in the direction of the wind.
.rawing grass affected by the wind when loo%ing down on it is another matter. t the bottom
half, you grass moving to the upper-right side. Note the grass is drawn to the direction of the
wind ma%ing the scene loo% li%e fur is moving. If you were coloring wind movement in grass,
the affected grass would be colored at a lighter shade ma%ing a ring or stripe-li%e pattern.
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Forest )andscapes: "hru*s
By Rio
There's nothing li%e drawing a forest without some overgrown shrubs. (e'll ta%e a loo% at how to
draw them in this tutorial.
The 0ay of the "hru*
(ith the shrub, you are allowed some flexibility. 6ou can draw them with basic shapes or go
wild with some fun%y designs. Let's ta%e a loo%:
A$ (hat you start off with is the basic structure of the shrub. It's li%e drawing a tree minus the
trun%. Then you move on to giving it shape.
;$ This is a rectangular hedge. It's usually maintained and cut in this manner serving as a living
fence. The most seen shape for populated areas.
>$ +ounded hedges is one of the natural shapes shrubs ta%e on automatically.
@$ /vergreen shrubs, on the other hand, tend to be pointy and have a conical affinity unless
they're the low growing 2unipers.
C$ Last but not least are the shrubs that are ornamental. &uch li%e the rectangular shrubs, they
are maintained to their peculiar shape. <opular one's include the spiral-coned evergreen shrub
and some bi1arre shapes include what I all the 3poodle shrub3 which mimics the <oodle haircut.
)elow, we have the three most common 3lines3 of bushes including angular, spi%y, and rounded.
#pi%y bushes tend to be on the evergreen family while the other two tend to be more of the leafy
type.
gain, much li%e drawing your tree, to add depth to your shrub you
have to consider leaves in the foreground, midground, and
bac%ground. /ach are shaded in accordingly as shown on the right.
<ut them all together and you've got a shrub with dimension.
)elow, we have an example of a bushes in a natural setting. &ost
bushes are low to mid-growing height but there are those that grow
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much higher than depicted below.
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Forest )andscapes: Roc%s
By Rio
.rawing landscapes ta%es many items and puts them all together in one scene. The next step to
drawing a forest is the ability to depict roc%s or all si1es and shapes.
Roc%s
There's no right or wrong way to draw roc%s but here is some steps you should consider when
drawing them.
1) Decide the Purpose and Choose the Shape
6ou always have to start with what %ind of shape your roc% will be but first you must conclude
what the roc% will be used for. ,or example, if you're creating multiple roc%s, will they all be the
same shape such as roc%s for a wall or will they be different for those roc%s 2ust laying on the
earth in no particular order9 0nce you've decided what purpose the roc% will fulfill, pic% one of
the usual roc% shapes below:
. +ectangular or #7uare-shaped
Hood for bric% walls, fences, slab foot paths. 8sually has to be
formed by humans to achieve this shape.
). 'ircular or 0val
These types of roc%s may be smooth or worn around the edges
as shown. #mooth versions may be natural or man-made.
'. Triangular or 'onical
+oc%s of this %ind tend to have 2agged edges. #ome may be
formed naturally or not. 8nnatural edged roc%s include
arrowheads. Natural edges may be caused by sudden blows
from wildlife or other sources that split a roc% and create a
sharp point which brings me to my next point....
2) Determine What Kind of Edges the Rock(s) Will a!e
(e have tal%ed about some causes for how roc%s
are shaped. 'onsider that when drawing roc%s in a
forest or in another setting. There are basically
three types of edges for roc%s: uneven, sharp, and
rounded.
8neven edged roc%s are the most common type
out in nature. #harp edges may also be found but
may be harder to locate naturally in the wild unless it fits certain environmental conditions.
+ounded roc%s naturally form at river-beds as they are being constantly buffeted by water and
other stones creating a rounded piece. +ounded roc%s may also be made by humans by being
polished and shined by machinery. They can usually be found in flower or arts M crafts stores to
be used in vases, fountains, or pther purposes.
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") Signs of Wear
ma2ority of roc%s have signs of wear from the environment. /verything from being thrown,
throd on, hit against, chipped, and the elements themselves. .isplayed is four signs of wear that
roc%s may have.
A. Curved lines - the best way to show the curviness and
impressions of a roc%.
;. Straight lines - may be formed due to different types of
roc%s piled together with softer roc%s wearing out faster than
tougher roc%s or may be man-made using chisel.
>. Pockmark-like shapes - 8sually caused by direct blows to
the roc% that chips or 3dents3 it.
@. Grain dots - #hows the texture of a roc% or may be used to
show minute nic%s less visible than the poc%mar%-li%e shapes. )elow is how you would add each
particular sign of worn to a roc%:
#) $n $ts En!ironment
(hen drawing a roc%, you have to consider the surrounding environment. In terms of drawing a
roc% in a forest, you have to consider all the vegetation around it and even on it. )elow you see a
roc% partially uncovered surrounded by grass and even a flower. If you loo% closely, I've drawn
some moss growing up the roc% and all around it !no, those aren't poc%mar%s =E=$. It has
multiple signs of wear telling you it's been there for a long time.
,or roc%s in other areas, you have to consider the environment always. (hat shapes will roc%s
have near the beach9 (hat %ind of roc%s will you find in a cave9 If you're in the desert or on a
mountain, what %ind of roc%s will be there and what will be around it9 If you need to, study the
various areas if you don't %now the answer and above all, %eep practicing.
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Forest )andscapes: 8uttin- it 3ll To-ether
By Rio
#o you've learned what there is to %now about each individual aspects of a forestG trees, shrubs,
grass, and roc%s. Now let's put it all together5
8uttin- it 3ll To-ether
If you've read through all the ,orest tutorials, there was a common theme that repeated itself
which was basically: 3(or% in layers - bac%ground, midground, and foreground3. 8se the same
concept when putting together your forest bac%ground.
Ta%e this picture to the left. s with most 'H's, they are done on
layers. 'an you dissect the image between front, middle, and
bac%ground9
........
Hive up9 nswer:
,ront: Tree and grass
&iddle: +iver and bridge
)ac%: ,orest and shrubs
Let's get a closer loo% into each one:
Fore-round " (id-round " Bac%-round
If you loo% closely at the bac%ground image, there's another set of layers going on between the
slew of tall trees, young trees, shrubs, grass, and general foliage. That is what you have to
achieve if you want a believable bac%ground.
lso, if you're very astute, you'll notice that the foreground image is much more detialed than the
other bac%ground images which are mainly silhouttes. (hen drawing your bac%grounds, ma%e
any plants close to the viewer as detailed as possible while leaving those in the bac%ground as
general drawn shapes or color.
,or example, if you were drawing a manga, you'll have to rely on tones, and blac% and white to
distinguish the difference between the fore, mid, and bac%-ground.
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,or far views li%e the first image above, things in the distance are lighter in color than those up
close. ,or close-ups, though, the opposite is true. Those close to the viewer is generally lighter
and dar%ens in the distance.
This here is .eleter tone J#/-AU>R. Notice how they used a far-view color
scheme with the foreground sporting a dar% tone color and the farther
bac%ground in a light-colored tone. lso, the closer tone has more detail with the
leaves than those afar.
#ummary:
,oreground - detailed
&idground - between detailed and generally shaped or colored
)ac%ground - general shape
'olor - light to dar% from foreground to bac%ground or vice versa depending on your view.
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"creentone &epot
By 3shura
8urpose of 8a-e:
There are many manga artists online who don't have access to or are unable to afford
screentones.. ,ace it, the cost of screentones are so high.. it's impossible to afford them without
emptying your wallet... !typical price: WR.UU 8# .ollars$
I've recently ac7uired some cool tones from -itomi.. she has access to the really cool Bapanese
and Dorean tones for '-/<. =E= !cheap " H00.5$ I've scanned in all the ones that are scan-
able.. the remainder scanned in extremely blurry. NENG ll of them are in TI, formats.. not 2pgs. I
assume most of the manga artists out there would usually have their wor%s scanned with good
7uality, so TI,s would be a better format to use.
I've also scanned in some tones from a tone boo% published by .over, called )ac%round <atterns,
Textures and Tints.. its a manga artists' dream come true5 =E=G I didn't scan in LL of the tones..
2ust those that loo% useable.
-ere's the I#)NJ for the boo%: I#)N U-@QL-;>;LU-> published by .over, boo% by 'larence <.
-ornung.
&istri*ution Rules and Re-ulations:
None really.. 2ust download and create your own pretty manga5 =E= If you plan on posting them
on your own page, please let me %now, 0D9 &y stupid scanner crashed at least > times for each
pic I've scanned.. so do me that little favor, 0D9 =E=
" / R E E + T 5 + E "
!scanned at AUU.<I$
animal.tif
!Q@CD$
in%lines.tif
!@TQD$
crosshatch-easy.tif
!@TQD$
fish.tif
!Q@CD$
lace.tif
!Q@CD$
largerdots.tif
!CCTD$
2009 -129-
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lines.tif
!CU;D$
marble.tif
!@TQD$
random-dots.tif
!@TQD$
smalldots.tif
!C>UD$
small-marble.tif
!@TQD$
whiteonblac%scratch.tif
!@TQD$
Ho! To 'se BEm DED
<' !using <hotoshop$:
A. #can in your pics and save them in the TI, format. Then load 'em into <hotoshop.
;. 'lic% on the rectangular mas% option and press 'trl- on your pic to grab the whole pic.
>. Then press 'trl-' to copy the pic and then go into /.IT and select paste as a layer.
@. 'hoose .ar%en as the new layer.
C. Load up the tones.
L. 8se the rubber stamp function to grab the tones. 8se LT \ your left mouse button to grab the
area you want. If you selected a solid brush, the tones will paste on exactly the same.. however if
you selected the softer !blurrier$ brush, then the sides will be softer.. it'll loo% li%e you airbrushed
it on. This is useful.
T. +esi1e the tone depending on how dense or loose you would li%e the tone to be.
Q. )e sure to play around with the airbrush !set at course$ to create special effects.. !li%e clouds..
glitter.. etc..$
R. -ave fun and be creative5 =E=
If you have a Laser printer and lotsa money..
A. If you have a laser printer !which I don't$, print out the tones onto paper.
;. &a%e sure you have the '-+T<D .,+Q acetone sheets !clear copy-able screentones$.
>. Ho to the copy shop and place the .,+Q onto the by-pass tray !where the paper is$.
@. <lace the tone printouts onto the copier and ma%e your 0(N tones55 =E=
C. The 'hartpa%s costs W@;.UU buc%s.
L. 6ou can find the 'hartpa%s at ll in 0ne #upply for cheap. =E=
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3dditional ;nfo:
If you would li%e to contact shura, you may reach her at either of her websites:
shura&anga.com or 8mbrella#tudios.com
+ote from Rio: 6ou can purchase tones in a set from -owTo.raw&anga.com. lso, you can
buy individual tones from our affiliate 'omicTones.com.
Tutorial by shura. ll rights reserved.
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Helicopter: 8rofile
By ;liyan "piro, >a%a BE3R?
I'm going to cover the basics for drawing helicopters. .esign is up to you5 ,irst, start
with a long line. This will be the base for your helicopter.
+aise a triangle from that line, somewhere near the center but not in the center.
The longer line will be your heli]s ^tail_. The shorter will be for your coc%pit. Now let]s do the
tail first5 +aise a short line at the end of the tail and connect it with the triangle5
Next we add the other tail components !don]t %now their names, sorry$.
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The tail is pretty much finished. ttach to the lower parts of the helicopter !your coc%pit design$5
I rushed it out a bit. The dar%ened lines show the entrance !the front window$. Let]s add the
upper part.
/rase some useless lines5 &y coc%pit design turned out poor, but it will wor% for now5 :$ (e now
need the ^blades_. If you want you can add ^blades_ to the tail too !I did not$.
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(e have to ma%e the blades loo% nicer. !Not enough paper on the left$ :$
)lades are done. 8h-oh5 No landing gear5 (e will ma%e one. 6ou can put standard wheels or
water s%i !as I did$, or what you wish.
-ere5 The basic helicopter is complete5 Now soften the corners if you li%e and add details and
stuff. I add a ^+0'D 0N_ logo on the lower part of the coc%pit, a machine gun, the pilot seat
and of course a door.
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.etail the tail and you]re done. dd random stuff !stic%ers, more small wings, stripes etc.$ to
ma%e it cooler.
3dditional ;nfo:
If you have any 7uestions about this tutorial, you can contact Iliyan in the forum via <&. -is
membername is )/+. To see more of his wor%, visit his art thread in the rtist 'orner and
rtist 'orner rchive at the forum.
PPPInstruction provided by Iliyan #pirov !a%a )/+$. 'opyright S ;UUT Ilayan #pirov. ll
rights reserved.PPP
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(echaBs: The Basics
By ;liyan "piro, >a%a BE3R?
.rawing mechs can be hard sometimes, especially when you don]t %now exactly what to draw5
;n order to dra! a mechC you first need to fi-ure out ho! they !ill !or%. That rule -oes for
e,erythin- technolo-ical you dra!. .rawing humans is easy because you %now how they
wor%. (hen you %now how your mech will operate by thin%ing about it for a bit, you're ready to
draw5
0%ay, let]s begin5 There are many %inds of mechs in &anga or nime, but the most popular in
my opinion are the ^-umanoid_ mechs. (hen drawing them, I thin% of them as a human with
some cool gear5
8art ;: Basic Fno!led-e
,irst you need to %now the basics about mechs !and other cyberpun% stuff$:
A. 8se straight lines and angular parts for your machines.
;. ,or mechs, use smaller heads because big head loo%s funny !and that]s not what you usually
want$.
>. <ut details on them !bolts, wires, circuits, strange lines, textures, whatever$ but don]t overdo it.
Deep it %ind of simple.
0ften I draw many parts such as hands, legs, heads, guns etcetera on separate sheets of paper and
then I put them together. It]s li%e L/H05 0f course, you can draw them as differently from each
other as much as you wish5 (e]re all different after all and your mechs should be as well.
8art ;;: Time to &ra!
#o how will our &ech wor% !or what he will have$9 -ere is what I got: 3'lose combat type with
big fists and feet. )ody armor !or something$ and 2et engines on his bac%3. )ut enough tal%, let]s
get started5 ,irst I s%etch out my &ech:
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(e need to complete the ^s%eleton_5 Note: #hapes may vary depending on the style of your
mech
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Loo%s li%e a human doesn]t it9 Now we have the base to ^build_ our &ech. Time to put
something over those ^bones_5
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-ere it is5 I used parts I have already drawn before. s you can see I used the /+#/+ L0T5 I
made his head smaller !loo%s cool this way$. Now, erase some useless lines and add some
details5
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...nd it's done5
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It]s really up to you on what you draw. Try new ways to connect your mecha]s parts5 :$ I can add
details forever, but I]ll stop now. Now it]s your turn. Hive it a try5
)tw, more &echs and other Tech tutorials coming soon5 Next time: parts for mechs - designing
and using them.
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3dditional ;nfo:
If you have any 7uestions about this tutorial, you can contact Iliyan in the forum via <&. -is
membername is )/+. To see more of his wor%, visit his art thread in the rtist lley at the
forum.
PPPInstruction provided by Iliyan #pirov !a%a )/+$. 'opyright S ;UUT Ilayan #pirov. ll
rights reserved.PPP
2009 -142-
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Randomness
By Hondros9
#o` This section is designed for tutorials on the site that didn]t really have a specific place
under the other three categories. 6es, the original site had them categori1ed under one thing, so
this is not that bad.
lso, I would li%e to than% +io for having the siteG I found it very informational and helpful. That
is why I made this easy to download guide, if you want to have it all offline. It ma%es for a nice
boo%.
0nwards to more tutorials, I]ll ma%e another table of contents for this, and afterwards, there]ll be
a To-.o List, and a copyright notice thing.
1. Tutorials
7eneral
(aterials (."&.)
1olor 54eel (."&9)
S4adin3 (."5")
2. To-Do List (.153)
3. Copyri!t (.154)
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(aterials
By Rio
6ou can't draw unless you have the proper materials. -ere we'll go over some basic, necessary,
and optional materials you may want to try out or get for yourself.
Must Have Basics
1) Pencil
/veryone needs a pencil to start off drawing. &ost people li%e to use the J; or -) pencil. It's
standard and it's affordable.
rtists pencils are classed based on the lead used. ) refers to soft lead and tends to easily
smudge while - refers to hard lead. - pencils are less li%ely to smudge but are more prone to
ma%ing indents on your paper. These types of pencil are optional and ranges up to C, meaning the
softest?hardest type of lead.
nother option from the common pencil is the clic%y pencil which saves you from constant
sharpening by 2ust replacing the lead. If you draw a lot, it's best to get a clic%y pencil with a
cushion. If you can't get one with it already attached, you can buy the grips separately.
,or those using regular pencils, you can extend the life of your pencils by using a pencil
extender which tends to be metallic and loo%s li%e the end of your pencil sans eraser. Bust attach
and screw it to the end of you pencil and you're good to go.
2) %&'()11( Paper
The most cost effective paper to use is regular printer paper. ,or one ream with CUU papers, it's a
deal at about W>-@ each. ,or that amount or more, you can get only one s%etch pad with about >U
pages \?-. If you're really tight on budget, use printer paper but I would recommend you
eventually get regular s%etch and doodle pads. The paper in them are thic%er and can handle
erasing more than printer paper. Not to mention, if you li%e coloring your wor% with mar%ers and
so forth, the paper won't warp and bend.
#%etch and .oodle <ads come in various si1es. 'hoose a si1e that will wor% for you !i.e. handle
mar%ers, si1e is easy to transport, etc$:
R3xA;3
AU3xAC3
") 12( Ruler
#tandard ruler. 6ou'll need one if you want to draw things - especially buildings and items with
straight edges. It's also useful for setting up perspective lines.
#) Work Space
In order to wor% properly, you need a place to draw your stuff. It's best to draw on a des% but
2009 -144-
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worse comes to worse, floor space is all you need. #ome people specifically buy the artist's des%
which slants and may have additional features such as holders and so forth. If you're tight on
budget or space, an ordinary computer des% or table will wor% 2ust as well.
') Eraser
6ou can't draw without an eraser to fix your mista%es. The most common eraser is the pin% one
!a%a <in% <earl$ but the better eraser is the white one. (hen you use the pin% eraser, it tends to
leave a pin% mar% especially if you rub it really hard on the paper. void that by getting the white
eraser.
,or ease of use, some people use the clic%y eraser. Li%e the clic%y pencil, the eraser can be
refilled as you use each stic% up. 0ther erasers include the %neaded eraser which is li%e
handling putty or clay. 6ou basically put it over the parts you want to erase and it'll pic% it up. To
3clean3 it, you 2ust need to %nead it !i.e. pull it over itself li%e dough$.
Manga Purposes: Starting Of
1) $nking Pens
The are various 3in%ing3 pens and the most basic of those that are in pen form !i.e. it already has
in% in a tube and is 2ust li%e using a pen$. (hether you used refillable in%ing pens or not, they all
come in various tip si1es. The tip is what determines the si1e of the line that is drawn. #i1es
include: U.A, U.C, A.U, ;.U, etc.
2) *ight +o)
The light box is a useful tool to have when you need to re-do an image. It comes in handy when
doing manga, pin-ups, clothing designs, and even if you're into animation. Light boxes may be
bought at the store for about W;U\ depending on it's si1e.
The poor man's light box is to use outside light via the window or use a glass table and shine a
light underneath. 6ou can also build your own light box using a wooden box, a glass or plexi-
glass, and a bulb. Bust visit your local hardware store for the materials, ta%e the time to assemble
it, and viola5 - instant light box.
") ,emplates
Templates come in various shapes and si1es. The most useful of the templates are shape and
curved templates. #hape templates have pre-cut shapes stamped into the form such as circles,
ovals, s7uares, diamonds, and rectangles. Instead of wasting your time in measuring and
perfecting these shapes, the template saves on time and effort.
The other useful template to have are curved tamplates which are used for ma%ing motion and
action lines.
6ou can get more templates such as lettering and other fancy designed outlines but the shape and
curved templates are the most important templates to have on hand.
#) Compass
If you can't use a pre-si1ed template, the next best thing is to use a compass. It'll come in handy
2009 -145-
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when you're doing motion lines such as arcs and bigger round shapes. There are two types of
compasses:
a$ one with a point on one end and a clasp for pencils on the other
b$ one with two claps on both ends so you may put pencils on both ends
'ompass is the easiest compass to get a hold of than ). /ither one will wor% 2ust as fine so no
need to sweat it if you can't get ). If you'd rather not waste money on a compass, then you can
use a thumbtac% and string to ma%e your arcs and circles.
') +lue Pencil
6ou've probably seen a pro's wor% sporting some blue lines. If you don't %now already, that's
what's called non-photographic blue. Not 2ust any blue pencil will wor% - it has to specifically
say 3non-photographic3. rtists use this special pencil particularly when doing roughs and
s%etches. They'll then go over their drawing with permanant blac% in%. (hen their wor% is
photocopied or printed out - the blue lines will not show up but the blac% lines will. )e careful
though5 If you push the blue pencil hard enough, it will show up on the final product. The tric% is
to not draw too heavily. It's also easier to erase on lines drawn lightly.
This is very useful for those of you interested in animation.
-) +enda.le Ruler
The bendable ruler is a flexible piece of material that you can bend to almost any curved shape
you desire. If the compass and template can't ma%e it, then this baby can. It's very useful for
those weird wavy lines that will ta%e several steps on a template or compass. 6ou can save on
materials by not getting this but as always, your time is the trade-off.
/) ,0S1uare
The T-s7uare is a long ruler with a RU angle at one end. It's primarily used for that right angle for
bac%grounds. Now that you're starting out as a manga-artist, this will come in handy for all the
bac%grounds that you'll be drawing. If you haven't gotten to bac%grounds yet - stop avoding it
and get it over with. Learn how to draw bac%grounds with this thing and it'll ma%e things easier
for you... or would you rather measure things all the time9 6ou can do without this but it'll eat
away on your time.
%) 1%( Ruler
This will come in handy for those papers that are bigger than A;3 - and when you start wor%ing
on submission papers for your manga, the specifications tend to have one side above A;3
!particularly when you're submitting to a comic boo% and not graphic novels$. Instead of using a
A;3 ruler bac% to bac% to measure your stuff, an AQ3 ruler will get the 2ob done without that extra
hassle.
2) Dou3inshi Paper
(hen you're starting out, dou2inshi paper or 3fan-made3 paper is the way to go. .ou2inshi paper
are pre-lined and numbered which ma%es it easier to draw your lines and where to confine your
drawings. If you're short on cash, you can use standard drawing paper and draw in the lines
yourself. If you don't have the time - 2ust spend that extra money and get the dou2inshi paper.
.rawing a comic layout is very time consuming5
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Manga Purposes: Advanced
1) +rushes
The brushes is mainly used to apply the correction fluid !a%a white out$. 6ou can also use it for
in%ing in large areas of blac% bac%ground. It's best to get a thin brush so it may be used for tight
areas as well as larger areas.
2) ,ones
Tones are used to add depth and interest to a manga. #tyles vary from dots, lines, cross-hatches,
and things li%e feathers. 6ou can get actual sheets of tones or you can use digital tones. If you
can't find it on the net, you can also ma%e your own tones.
") 4anuscript Paper
8nli%e dou2inshi paper, this is the real thing that pro's use to submit their wor%. Bapanese ready-
made manuscript paper tend to be on the smaller si1e compared to comic boo% paper which is
about AA3xAC3. (hen submitting your material to publishers, ma%e sure you chec% out their
specifications and get the appropriate paper.
#) Cutting +oard
cutting board is used to protect your wor%space !i.e. your des%$ from the cutting %nife. It's
usually a clear plastic piece but if you can find something that wor%s 2ust as well, then use it.
') Cutting Knife
The most reason you will use your cutting %nife for is for the tones. To cut and to scratch it to
ma%e effects. 0therwise, really no need for you to get this item if you're not using tangible tones.
-) Paper Cement
<aper cement is used for one purpose: to attach your tones to your manga. It's very stic%y so be
very careful when handling and attaching tones to your wor%. If you stic% something to it
accidentally - good luc% prying it off.
/) Correction 5luid (White 6ut)
(hite usually comes in small bottles or in pen format. (hat manga%a's usually use come in a
bottle with a wide rim to easily dip in a brush.
%) $nk
In% is what you need if you're using old fashioned pen and nib. It comes in big and smaller
bottles. I suggest you get the small bottle and 2ust refill it with the bigger bottle. The best in% is
one that is waterproof and fadeproof. (aterproof so your in% won't run if it gets wet and
fadeproof so that your in% stays the same color even after O amount of years.
2) Pen and 7i. $nking Pens
These are the traditional in%ing pens that uses a nib. &uch li%e calligraphy, the tip determines the
width of the line. There are all types of tips and 2ust as many man%ers. ,ind and use whats best
for you and remember to wipe clean your nib from in% after each use. nd dry it off so it lasts
longer and doesn't start to rust.
2009 -147-
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Additional Materials
These are optional materials you can use if you're interested in ma%ing pin-ups, colored covers,
and other handy things to have.
1) ,ortillion
Tortillions are paper wrapped up in a spiral. It's used to blend pencils and create that smooth
loo%ing transition between blac% and white. It's a nifty tool to have if you li%e doing blac% and
white images.
2) Colored Pencil
'olored pencils are one of the most cost effective materials to own if you want to color your
drawings. &ost colored pencils have hard lead but you there are soft leaded colored pencils as
well. If you can get your hands on them, I've found that the most vibrant colored pencils to be
made by <rismacolor. They're a bit pricier than the other brands but the results are fantastic.
") Watercolor8 Watercolor Pencil
(atercolor is a good alternative to oil paints and acrylics. (atercolors come in tubes, in palettes,
and in pencil format. The watercolors that turn out the best colors are <rang. 0thers tend to turn
out flat in the end.
#) 9cr:lic
If you want to get into painting on canvases, acrylic is the best way to start. 4entilation is not
needed unli%e oil paints.
') 6il Paint
0il paints is one of the traditional methods of painting on canvases. If you want to use these,
ma%e sure you're in a well ventilated area - the fumes are bad for you.
-) Cra:ons
If you're not pic%y on what to color your drawings with, then use crayons. They're easy to get
and you probably have them already. They're li%e soft leaded colored pencils.
/) 4arkers
There are two types of mar%ers: acid and oil-based.
%) 9ir.rush
irbrushes create a different effect from other materials because of their spray. side from
drawing on paper, air brushes may be used to color other things as well such as shirts.
2) 5igurines
These are those wooden modeling dolls you see all the time at art stores. They help depict certain
poses you may have trouble picturing or drawing. It's a lot handier than getting someone to pose
for you or you 2ust can't pose on your own.
There are three types of figurines: male, female, and non-gender specific. Non-gender specific is
2009 -14-
Page | 149
the most versatile of the three and offers a basic figure between the two sex's.
1;) Color Chart
If you're heavily into coloring your drawings, a color chart is highly useful when you want to
ma%e a certain color. It helps to %eep colors consistant if you mix your paints on your own
instead of buying that particular color.
11) Portfolio Wallet
portfolio wallet is basically a big folder that you store and carry your artwor% in. Typical
portfolio wallets are made out of paper and have a string to close the folder. &ore modern
wallets are made out of plastic and close with velcro. #ome may even have a handle at the top for
easier carrying.
0ther storage devices include boxesG in paper or metalG and wooden storage units - vertically or
hori1ontally inclined.
Computer Related Materials
1) Photoshop8 Corel Dra<8 =$4P or similar graphic soft<are
If you want to 'H your wor%s properly, you have to get a decent graphic software which has the
ability to wor% with layers. Layers allows you to wor% with certain parts of your drawing one at a
time without affecting other areas. 8se whatever software wor%s best with you be it <hotoshop,
'orel, <aint#hop <ro, etc.
There are artists out there who use various softwares and even use photo-editing softwares for
some neat filter effects. &ost graphic software has a trial period - loo% around and try them out5
2) Dra<ing ,a.let
If you 'H artwor% on a regular basis and is close to getting carpal-tunnel syndrome - then get
your hands on a drawing tablet. If you're on a tight budget, you can get tablets for under WAUU but
if you have no limit - a tablet can run to the WAUUU's. The cheapest tablets are (acom's Hraphire
series which is an excellent starter tablet.
") C= $llust
This software is specifically for 'Hing and nime artists. 'reated in Bapan, this software has
nifty features li%e the other graphic softwares mentioned above. This software also happens to
include some 'H tutorials from various artists.
#) Comic<orks
&ade in Bapan, this software is made specifically for the manga and comic creator. It has all the
features you would want on a manga software from tones, fonts, and more.
') Comic Creator
/ndorsed by To%yopop, 'omic 'reator is another manga and comic creating software. It doesn't
have tones but you can use artwor% from some +ising #tars of &anga series. It also has the usual
balloons, lettering and usual manga creating features.
2009 -149-
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-) 4anga Studio
The most popular manga creating software, it has everything you need from tones, balloons,
paneling, lettering and so on. There are two types: .ebut and /O with the latter being the
3<rofessional3 version, costing more but sporting more tones and >. models.
2009 -150-
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/olor: /olor 0heel
By Rio
Basics
The color wheel is comprised of main colors !on the outer ring$:
red, purple, blue, green, yellow, and orange. The inner ring are
pastel versions of the main colors. If there was a third outer ring,
it would be a dar%er shade.
The colors orange, red, and yellow are %nown as the !arm
colors. These colors are bright, cheerful, and are associated with
anything hot which is why they are aptly called warm colors.
<urple, blue, and green, on the other hand are the cool colors.
These three colors are are often used in shadows among other
things which is why they are called cool colors.
Terms
#ome useful terms that you should familiari1e yourself with:
Hue - pure colorG the color itself !red, yellow, blue, etc.$
;ntensity - refers to the brightness of a color. In order to lower a colors intensity!dull down$, add
a small amount of its complementG its opposite color!more about complements later$. ,or
example, to dull down red, add a bit of green. If e7ual amounts of red and green are mixed, the
color becomes brown not a dulled down red.
alue - refers to the lightness or dar%ness of a color. ,or example, to lighten a color add white.
8rimary /olors - red, yellow, and blue. They are the basic colors that ma%e up all the other
colors of the color wheel. ,or example, if you mix red and yellow - you get the secondary color:
orange. &ix red and blue - you get purple. &ix blue and yellow- you get green. nd from there
you can create tertiary colors li%e tur7uoise !a blue green color$ or fuschia !a red purple color$.
"econdary /olors - orange, violet, and green. These are made mixing any of the primary colors
as explained above.
Tertiary /olors - 'olors made by mixing a primary and its secondary color.
+eutral /olors - when e7ual amounts of two complementary
colors are used, a neutral grey or brown is made.
'sin- the /olors
'olors ad2acent to each other are called 3nalo-ous /olors. These
2009 -151-
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colors are beside each other in the color wheel such as red and orange, green and yellow, green
and blue, blue and purple, etc.
'olors across from each other are called /omplementary /olors. 'olors such as purple and
yellow, green and red !x-mas colors5$, and blue and orange can be matched together.
If you try to match colors that are not 'omplementary or nalogous, they do not fit together as
well. Try to stic% to using complimentary and analogous colors as much as possible.
If you want to use other color coordination besides the one's mentioned, you may do so but you
might have to ta%e up a bit of time mixing and matching.
The 5ther /olor 0heel: /(2
The color wheel described above is the traditional color wheel where the
main colors are grouped based on the classic methods of mixing color
through paints. These are +H) !red, green, blue$. (ith the advant of
computers and printing, a new color wheel emerged called '&6 !cyan,
magenta, yellow$ color wheel as seen on the right.
#o, which one should you use9 /ither one is usable though most people
tend to favor +H) in general over '&6.
Tips
A. (hen using color, you have to consider other colors as well. ,or example, if you use a white
bac%ground as the colorwheel above right, the colors in the wheel loo% brighter whereas the
colors with the blac% bac%ground above loo% dar%er. 'olors ta%e on the 3effect3 of the color
surrounding it5
;. (hen you create a character, your choice of color will ma%e the character
loo% either a good guy or a bad guy. Hood guys usually have 3lighter3 color
clothing as opposed to bad guys which have 3dar%er3 shades of color. This
does not mean that you have to give your good guy character's all pastel
colors -- what it means, for example, is that if a good guy has a blue shirt then
as a bad guy the shirt color will be blue also but in a dar%er shade.
>. Loo% at the composition of the colors in a picture. Try to achieve balance.
Ta%e this example here to the left. (hen I colored this guy, the orange stood out a lot. I mean a
lot55 To dull down the orange I used a dar% blue bac%ground - orange's complementary color.
That is balance. Try to consider it when you color your drawings or other images.
2009 -152-
Page | 153
"hade = "hado!: Basic "hapes
By Rio
Basics
#hading can be a bit tric%y at first but its not as difficult as it
seems. The picture to the right shows a light bulb and several
geometrical shapesG circle, triangle, cylinder, and a s7uare.
6ou'll notice that one side of the shape is light and the other is
dar%ened. ll you need to %now or %eep in mind is 2ust that.
0hat the li-ht doesnBt hitC it is dar%ened. In this example,
all you have to do is picture the light source and the ob2ect
which is being hit by the light -- which part will the light hit9
-ow far will the light go9
6ou also have to as% yourself !here is the li-ht source
comin- from9 If the light is far above, the shorter the shadow
is !try chec%ing out your shadow at noon - A;:UU<&$ whereas
the lower the light, the longer the shadow will become.
ccording to the light source, ma%e your shadow fit accordingly.
Hood thing to remember also: !hat is the shape of the o*:ect ;Bm -i,in- a shado!9 /ach of
the shapes in the picture each have their own uni7ue cast. The triangle has a pointy shadow, the
circle has a circular shadow, the cylinder has a rectangular shadow, and the cube has a 3L3-li%e
shadow. t a different angle, though, the cube will cast a different shadow shape. ,or instance, if
the light was head-on to one of the flat sides, it will cast a s7uare to rectangular shadow
depending on the light source's height.
(ith that in mind, you also need to remember:
!hat is the shape of the o*:ect the shado! is
fallin- on top of9 The current example only has a
flat surface on which the shadows fall but in most
cases, shadows of - say a character - will fall on
roc%s or on water, which will loo% different
compared to each other.
Tips to %eep in mind:
-The dar%er the shadow, the brighter the light
source.
-s the shadow is drawn further from the ob2ect,
the lighter it becomes.
&ra!in- the "hado!
The shadow ta%es on the shape of the item it comes
2009 -153-
Page | 154
from. If you loo% to the example picture to the left, you will see various shapes and their
shadows being cast. Notice that to ma%e the shadow, all you ha,e to do is create a trian-ular
shape from the top of the ob2ect to the ground and bac% to to the base of the ob2ect.
The cube is a bit more complicated as there are two and in some cases, three triangles you have
to draw when at an angle.
.rawing the shadow on the ground, I drew in dotted lines to indicate the shape of the shadow -
which is basically the same shape as the ob2ect itself. gain, you'll notice that the cube does its
own uni7ue cast as indicated at the bottom example. It forms an 3L3 type shadow.
"hadin-
#hading on an ob2ect usually starts midway into the ob2ect as shown on the cylinder, cone,
triangle, and cube. The circle is also shaded midway but considering that it is round, the shape of
the shading also becomes rounded5 The result is something 7uite li%e an eclipse. Note: #hadows
depicted in example image are intentionally drawn entirely dar% for tutorial purposes.
)i-ht "ource and "hado!
The shape of the shadow is also affected
by the light source. (hen the light source
is from anything but the sun, li%e a light
bulb, the shadow widens the further it is
from the ob2ect. The sun, meanwhile, casts
a 3striaight3 shadow in that it remains true
to the ob2ects shape.
(ore Than 5ne )i-ht "ource
shadow is made for each light source
present in a scene. If you are inside a
room, for example, and there are two
lights on, you will cast a shadow from each light source. This is shown on the right-most
example.
Notice both of the bulbs are at the same distance and height from the ob2ect. This fact causes the
shadows from both light bulbs to be the same. (hen the light sources are from different
distances and heights, the light source that is closer to the ob2ect gives off the dar%er shadow.
Loo%ing at the example again, note that the area where the two shadows meet is dar%er than the
one shadow itself. .ar% \ .ar% " .ar%er. Deep this in mind when drawing groups of people
who's shadows happen to overlap and intersect each other.
"ummary
Those basic shapes I have mentioned in the previous pages ma%es up the human anatomy. The
circle, rectangle, triangle, cylinder, and s7uare. The arms are basically cylinders, the head is an
oval on top of a cylinder, etc. ,rom there, the shadow is based on those shapes. 0f course it's a
bit more complicated since the face isn't all one shape but a combination.
2009 -154-
Page | 155
To7&o )ist...
By Hondros
lright5 The to-do list5 To be done eventually5 I]ve done all the copying and pasting from the
tutorial site to this document, formatting, etc. in one night. #o, you]ll have to excuse me from not
wanting to do all of these goodies, which will eventually get done`
A. Het the rest of the tutorials and put them on here at the end as an addendum
;. Het all websites mentioned and put them at end for '&ore -elp'
>. Hather all pictures and put them at the end
#o, I will do these when I have the time. That is a lot of stuff to do. nd, of course, there may
always be more to do.
2009 -155-
Page | 156
The /opyri-ht +otice Thin-yG
By Hondros
-ere]s the one thing that no one ever loo%s at and no one ever li%es to see. The copyright`
/verything here is copyrighted to the site: http:??www.mangatutorials.com?
ll tutorials are copyrighted by +io from said site, with the exceptions of:
Hree% 'lothing p. TC by Val
#creentone .epot p. A;T by shura
-elicopter: <rofile p. A>U by Iliyan #pirov !a%a )/+$
&echa's p. A>@ by Iliyan #pirov
If you need to, you may contact +io at rioYmangatutorials.com
If you need to, you may contact me at lordEhondrosYyahoo.com
If you wish to post this on a different site, or as a download somewhere else, please ma%e sure it
is o%ay with +io. It is fine by me if you post it, so long as everything stays intact, I./., no ta%ing
this for your own credit, or changing words. t all.
#eriously
I]ll find out where you are
Then you will be punished
#everely
&ost recent version
8pdated T - U; - ;UUR
'reated T - U; a ;UUR
S ;UUR
2009 -156-

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