Professional Documents
Culture Documents
Contents
Chapter 2:
Letting the Props Narrate about the Character ............................................................................................................... 31
What Is Meant by "Props Narrating about a Character" ................................................ ....................................................................... 32
Building a Character from Solid Shapes
The Head ........................... ......................................................................... ..................................... .................................................... 34
Eyeglasses I Goggles I Headbands and Other Headpieces: Wraparound Headpieces I Hats I Helmets I Headphones
Props ThatTell about the Arms, Legs, and Body .............................................................................................. .................. .................. 60
The Basics of Clothing I Belts and Buckles I Suspenders
Arms and Hands .................................... ................ ..................................................................... ......................................................... 68
Wristwatches I Cell Pl1ones I Bags
Footwear ........................................................................................................................................................................ .................... 82
The Slipper Is the Most Basic Shoe I Common Footwear That Tells about a Character
Chapter 3:
Letting Props Narrate a Scene ................................................................................................................................................ .87
What Is Meant by "Props Narrating a Scene"? ............................................................................................... .................. ................... 88
Sketching Characters Drinking ........................... ..................................... ................. ........................................................................ .... 90
Drinking Glasses I Holding a Glass I Mugs I Coffee Cups and Teacups I Yunomi I Kyusu and Dobin I Stemware I
Plastic Bottles and Beer Bottles
Making Props Look Authentic .................................................................. ................... ................ ........................................................ 114
Composing Cooking, Eat1ing, and Dining Scenes ................................................................................................................................ 116
Pots and Pans I At the Table I Serving Food I Desserts
Activity Scenes ................................... ....................................................................................................... ........................................ 132
Tennis Racquets I Shinai (Bamboo Swords) I Guitars I Taiko (Traditional Large Drums)
Stepping Out ........................................................................................... ............... ................. .... ................ .................. ............... .... . 140
Umbrellas I Bicycles I Motorcycles I Scooters I Cars
Chapter 4:
Spicing up a Scene vvith Weapons ....................................................................................................................................... 163
Weapons That Narrate a Setting .................................................................................................................................................. ....... 164
Sketching Swords and Blades ......................................... .................... ...................................................................................... ....... 166
Japanese Swords I How to Draw a Hand Gripping I Staffs and Spears
Bows, Arrows, and Weapons with Chains ............................................. .................................... ................. ................ ..................... ... 174
Bows and Arrows I Weapons with Chains
Firearms ............................................................. ............................................................................................................................... 178
Handguns I Shotgun I Fully Automatic Rifles ("Machine Guns")
Echoing Ellipses .......... ........................................................................................................................................................................ 192
The Myriad Props of Manga Characters .............. ................................ ................ .. .................. ............................................................ 194
Various pots
" Yunomi"
,
(*A handle-less mug ~ sed to drink hot tea)
Clothing accessories
0
0
6
G).
.~
Tea
0
.
'
Above
Eye level
Below
The base or bottom of objects above eye level is visible, and the upper
surface is obscured from view. The top of objects below eye level is
visible. Most objects drawn with a character fall into one of those two
categories. (When drawing the background, establish where eye level is
located and divide the background into a world above and a world below.)
Object Appears
Above
Below
"- ~
e~~
~
L:!JC:..J~~
//
'
/'
Drawing Ellipses
'
10
h
I
CD Establish the
Draw a vertical
central axis of an
object.
.:-J_
--
'~
.~
\~
~\
../
I!
@ Sketch a layout of an
ellipse around this central
point.
($
-w)
Object in Perspective
Objects in perspective are drawn
with an exaggerated sense of
perspective to accentuate a
three-dimensional feel. Objects
are typically drawn in one-point
perspective.
Actual size
*While baseball bats come in various
sizes, draw one with a length and width
that fit the character's image.
Elli pses
drawn in
the same
perspective
~~co-
\
The bottom ellipse
should be rounder
than the top.
Using a square as a
guide when drawing
a circle will give you a
clean, freehand circle.
However, there are
problems with this
technique.
The bottom
ellipse should
be rounder than
the top.
el ip~s i~
11
'-'
' \
__
--
\ ____,
\
\r~
\'
) .
I
I.
--\' -i
,,
;)
Actual size
~
\
\
'
/;
12
13
14
(In random order) Kazuaki Morita, Kawara Vane, ltchi, Akira Kato,
Naomi Toya, Koya Nozawa, Izumi Midorikawa, Hirosuke Terama,
Yo Hihara, Junko Takahashi, Kou Kizaki, Shirokuro Yuki, Arue
Niina, Wataru Hisatomi, ASK, Izumi Yukino, Kyoya Uzuki, Kanata,
Hajime Tsuzuki, Yuki Namiki, Rima Ayatsuki, Hiroshi Nishiuchi,
Siny, ltsuki Murakumo, Yuzuri Azusa, Miharu Kawara, Rika
Hoshino, Sakura Mugen, Yu Shinozaki, Marco, Minami Oyaizu,
0219 (Zeroni Juku), Shichimi, Gaku, Sakaki, Takuya Shinjo,
Kirakira Shiro, Ryo Kitakami, and Hikaru Hayashi
Production Assistant:
Miho Hamada
Production Support:
Hideko Miyamoto
Cover Artwork:
Kazuaki Morita
Cover Design:
Editor:
Assistance:
(In random order) Logistics Inc., Team n11 Dawn, and the Manga
and Animation Department of Nippon Engineering College
Chapter 1
15
0
A
.L..l.,
~-
// u
_/
16
\t)
f\
~~
~
Central axis
Cup
Layout captured as a
standard solid
As is obvious at a glance,
cell phones are basically
rectangular in form .
Rounding the corners makes
the cell phone appear
authentically mechanical.
Circles with
de-emphasized
perspectives
positioned on
a tabletop just
appear different in
size. Draw all as
ellipses positioned
at the same
c---=::;
~,9,
becomes an ellipse
when viewed from an
oblique angle.
angle.
17
Shapes in Profile
Square
Bottom
Adding shadow to
a circle creates a
sphere.
18
...r.
'~
60 seen from
Object
a moderately high
position
4S0
<;::! The object viewed
from a common
~
standing position
soto 1S
from an extremely
low position
<
I
The lower the position, the more the circle appears squashed
and flattened out.
Ellipse Template
Tip
---- - - .. - - -- --)>
At a distance
At a greater distance
19
Drawing Ellipses
( Drawing a Can )
Centerline dividing the ellipse
:vertically
- .:
-------l ~
-,.- - ______________________i_____________ -------------- ---------!'
'
'
...
Centerline
dividing
the ellipse
horizontally
.1- -
f5oangle.
r-------~~----
20
: The vertical
and horizontal
centerlines intersect
at a 90 angle.
Ellipses have two sharp curves on each side, Start drawing the long,
gentle curves first.
21
( 4. Drawing a Cylinder)
22
the
@ Adjust the
curves so that
they connect
smoothly.
In order to give the rim of a cup or can the illusion of volume, adhere exactly to the template
when drawing only the outer ellipse. Draw detailed or short curves of the inner ellipse using
freehand in order to create a sense of thickness.
23
24
.'
L
CD Add an inner curve that matches the outer curve. Above, the artist
is using an ellipse that is one size smaller than the first ellipse used.
Tip
Use thicker strokes for the portion touching
the base. This allows you to portray the can's
shadow, caused by the rounded rim. Adding
thick lines like this imbue objects with stability.
Final Image
25
Hatching
Light source
J",~
""'"'.
(_
Characters
Ref.: Mountains
26
Light
Dark
The contrast of light and dark
cause the circle to look like a
sphere.
"'
'I"
I/~~ \
\\\
When the light-and-dark contrast is strong,
the sense of three-dimensionality becomes
heightened, resulting in a cold, hard image.
Dark
(Shadow)
Original Color
(Base Tone)
Simplification
Gradation
Correct
(~
~/
1/
//.
(~A
Incorrect
Medium
Dark
We perceive that this box has
three sides owing to the light,
medium, and dark shades.
Lig
Medium
27
( Portraying Texture
''
h
28
Collar
(Thick fabric)
Use primarily diagonal
strokes.
Cargo Pocket
(Same fabric as the collar)
Use thicker strokes for the
button's shading to give it a threedimensional look.
Knife Handle
Omitting any areas of white
suggests a material with a
matte finish.
Incorporate
hatching using
short strokes as
Wood Grain
Hatching was used to create
the illusion of wood grain.
29
Metallic Sphere
The sphere's surroundings are totally reflected
on the sphere's surface. Draw in black the
ceiling, people, and other objects on the
sphere's surface. This sphere has a sharp
light-to-dark contrast.
This is the
tabletop. The
reflected
table is white
andhas
nothing on it.
This is the
ceiling. In a
transparent
sphere, the
sky or ceiling
becomes
reflected
Glass Sphere
upside-down
on the sphere's The light source is small
lower surface. and round. It forms a circle
of light within a shadow on
the sphere's opposite side.
The light
from the
source
passes
through the
sphere and
is reflected
underneath.
~ ~
(
I
\\ ,
\.
.
-
,j
.t
\...
( Ref. How Differences in the Light Source Affect the MaterialIs Appearance)
The profile contour and the light-to-dark contrast changes, depending on where
the light source is located, its shape, and its intensity.
Backlighting causes
this human figure to
appear black.
The window's
shape is
reflected.
Table's edge
Table's edge
The table has
nothing on it. The
weak light source
causes the table to
appear grey.
The portion of the sphere
touching the table
appears black.
30
The reflected
ceiling appears
to be a shadow.
The distant, weak light
source produced this dim
light reflection.
Sphere's shadow
Chapter 2
31
Cell Phone
9~~0
!I&~ ~~~
Helmets and ''
Goggles
32
Round
~i
_. g,.~
', \ - 1 t.
Head: Sphere
Face: Flat
NeckoCyllod"
nJ
\ '
Thigh: Widening
cylinder
0
[J
'--
0
(JJp
Hand and fingers:
Blocks and cylinders
V
/
-....-/
Use blocks to
define the palm
and fingers.
!}& rt
Positioning a joint in
the center of each
~
fj)(P
0 -,
B~_
rI)
.V ' fing.er makes them
eas1er to draw.
LV Q
\-\
Feet: Triangle,
circle, and
rectangle
33
The Head
Tips on Achieving
Three-Dimensional
Heads
Side
Depth of
Head
Low Angle
View
Side
34
Section
of head
denoting
depth
Virtually
straight
Forehead
'
The face is virtually flat
Face line
35
[_____E_
ye_g_
las_s_
es~)
Lens
Temple
Hinge
1'
The glasses
should flare out
at the temples.
~l
!J
fl
36
I~
II
The horizontal
height according to
what you pictured in
your mind's eye.
~
i~~
@ Draw the glasses while adding in the
eyes and nose.
Hinge
Rims
~Rim
attaches only
~ ~o top of lens
Of
High bridge
Low bridge
~Full
'bdJ ~urrounds
rim (Rim
lens)
37
When drawing
the act of lifting
glasses, make sure
that the temple tips
stay on the ears.
This is a difficult
feat actually to
perform in real life.
Lifting glasses:
This pose !Could be
used for manga or
a magazine or book
illustration.
Adjusting Glasses
My glasses are
intentionally drawn in
perspective to preserve
my expression.
38
Adding Hands
39
('---_
Go_gg_le_s ~J
This centerline
functions as a guide for
determining the band's
placement.
Sketch a band to
function as a layout
guide for the front piece.
This functions as a
guide for aligning
the lenses' lower
ends.
Show the headband
wrapping around the
head, forming a loop.
Strap buckle
Sketching Tips
Capturin g the Front Piece's Form
(;)
1 .
centecl.meuu ~u >fll\111![
uuu!lt
Lens
J;uu
"iJ~ A
Trapezoid
Part that
touches the
face (back)
Lens height
(front)
Front piece
depth
40
Goggle width
CD Sketch a headband-style
layout establishing the goggles'
width.
Final image
Round lenses
41
changes.
Lens
Cross-section
42
.)..
43
.,
\-
-v .- -~.
'
y. ,'
~,~~
.( ~;l_~~~~~~
- , ,;_.,. ---_./
i ~ .l
1\
The headband is a
swath of cloth that
stretches and contracts.
centerline
To the right is a
headband made of a
stiffer fabric. To suggest
a stiff fabric, use straight
lines to create a curve
constructed of angles.
44
Hachimaki
The hachimaki
/
Perfect Profile View
Slightly Turned
Sketching Tips
The curve of the head's side
doubles as a depth line.
Horizontal centerline
45
Stiff Headbands
Headpieces
The headpieces pictured here, which come
adorned with ribbons, serve a decorative
function more than as a means of keeping
the hair in place, like the more functional,
stiff headbands pictured above.
46
Maid Headpieces
Sketching
Steps
('--_H
_at_s
~J
( Baseball Caps)
Hats comprise a crown and a brim.
Crown
a gentle wave.
Curve top
Remember to
include the
brim's slope.
Note how the curves change appearance depending on the angle of perspective.
Common Hats
School cap
Newsboy cap
Straw hat
Knit cap
Baseball cap
Hunting cap
Sun visor
48
Beret
Scarf
Cap
depth-'--~~~~~~~
D 1'
This line
!
!
Use an inverted V
to describe where
the cap's brim and
crown connect.
Use a gentle
contour so that
the centerline
will lie at the
crest of the
curve.
49
brim's
underside
is visible.
This shows a cap worn at an
upward tilt.
Worn Straight
I
Moderate
high angle
Low angle,
3/4 view
Moderate high
angle, front view
50
( Newsboy Cap)
Front view
,
- - - - --- ')0
Layout of the
crown
same distance
from the top of
the head to the
top of the cap
as in the front
view.
The charm of the cap is its oversized
fit. Drawing th is contour so that it
slightly covers the bottom edge is an
effective way to create this look.
Sun Visors
51
t;::=~:;::=.t===t---;;Gap
between
head and
hat
---~:;:--_...,::---',__ __ 1 _
Gap between
head and hat
Hatband ellipse
Hatband
ellipse
centerline
52
Straw is a soft,
natural material,
so remember to
( Cowboy Hats)
Cowboy hat brims curl up at both sides, and the crown has a trapezoidal form.
Front
Brim's projection
Head depth
Head width
(
This shows the brim tilted upward in front.
Establish whether or not the brim widens and the extent to which
the sides curl up (in this case, to about half the height of the
crown).
/ /
Brim worn level from a high angle
53
elmets
Incorrect
example: The
helmet is too
small.
54
~~
In manga, artists
generally use
technical pens
instead of dip nib
pens.
Freehand
..::,
..
....---.
~
:::::::::::::::
Curve template A
These templates contain
curves of incrementally
different curvatures. These
may also be called "large
ellipse" templates.
Curve template A
Common Helmets
Full-Face
Helmets
helmet
55
~dphones J
The
hamburgershaped ellipses
are ear pads.
+
Headphones include a
headpiece called a "headband"
that is reminiscent of a fashion
headband.
Below shows a finished
headphones sketch.
Headband
Pad made of
sponge or other
soft material
Hinge
Ear pad
Sketchin!g Steps
Cable
The headband is
worn against the top
of the head.
56
@ Final Image
Sketching Tip: Draw the Ear and Then an Ellipse Covering the Ear
1
1
3/4 View
When drawing the figure in 3/4 view, shift the
ellipse's centerline.
Draw a curve that
follows the head's
curved surface.
This is the
centerline of
~Jil--!ln.:;U.. the ellipse
for where the
hinge connects
to the ear pad
cup.
Ear pad
centerline
57
~ -----~~"""'
/r!1'1\
Front view
Sketching Steps
The headband
describes an ellipse
as it wraps around
the neck.
58
Attach hamburgers
to each side.
( Designer Headphones)
( Headsets )
Operator
Sleeve
Armhole:
The armhole marks the
juncture where the sleeve
and shoulder meet. It
reflects the upper arm's
girth and the torso's
depth.
Sleeve
Side seam:
gives the torso
the appearance of
volume.
Cuffs:
This is a circle that
surrounds the wrist.
Side seam
Pants: - - - - '
The style shown here
could also be called
"slacks" or "trousers."
Pant legs are tubular,
reflecting the threedimensional volume of
the legs underneath.
Hem
Use ellipses for the
waist and the hem to
make a skirt look threedimensional.
These curves
adhere to the
torso's contours.
Ribbing
~:~;;;;;;:~
Knee highs
Sole of sock
60
Crease formed
from bending
Creases
61
Standard
Standing
Pose Angle
~~
~
/A
C /Nock
Elbow
Wrist
Thigh
Thigh
Low Angle
-g
The bottoms of these
cylinders are visible.
r1
0
6~
62
CD
Controlling an ellipse
is to control a threedimensional solid.
63
always take on
downward curves.
Conversely, belts and
buckles take on upward
curves when drawn
from low angles.
drawn using _
a standard
downward
curve. Belts
j
typically serve
1 a "cinching"
~;, ' function.
,
__,.I
Sketchin!~
Tips
Belt width
'-. ~~,._r---><--~
Hook
Block-shaped Buckle
64
You can create a host of different belt styles by changing the belt's thickness,
color, buckle shape, or other feature.
65
Suspenders ~
Common Suspenders
Bartenders and
others occasionally
wear cummerbunds
over suspenders,
as depicted here. :
Draw adjusters
on the right and
left sides at
approximately the
same level.
~/"
. II,.r1I
\.
\\
. 1 J - I
:li
'\
\ I
Back adjuster
f\
Clips
Common Styles
The metal adjusters
control the straps'
lengths.
X-shaped
Y-shaped
/I ' \1
\ ll
66
( \)r
\
It
Hook
Pi
This hook
attaches to
a button.
I .
Because these
suspenders are not
flexible, they sag,
giving the wearer a
sloppy appearance.
67
Arm centerline
Horizontal centerline of
the watch face ellipse
Sketching Tips /
/
68
Pocket Watches
This is a somewhat
large fob with a
cover.
Tt1is is a somewhat
srnall fob without
This is a bracelet
69
Cell Phones
Palm-sized
in size.
Sketching Tips
This line establishes the
ear's angle.
Sketching Steps
70
in the details.
D
If the character is tiny or
if you are composing a
long composition, draw
the cell phone on the
large-side.
This horizontal
Use a standard solid,
regardless of the angle
at which the cell phone
is held or viewed.
This is the
71
('--_ _B_ag_s
-~
--
...,.~
72
LJ
Attache Cases
- - - -
If
Handle's height
Shoulders
Case's height
-
--
Height
-- ~
- f--
Correct
~-
-T - -
The case is
shoulder-width in
length.
The
bottom
lies high
on the
waist.
Incorrect
A
The above shows a standard
solid with each side facing each
other. The top is visible.
73
Sketching Steps
Draw diagonal lines
while establishing the
positions of the handle
and clasp.
11
. .
. i . // :
::~~:'
I\
_____ __
.. 1.........
''
......
._
-
: Horizontal center
The juncture where the lines
intersect is the shape's center.
'
;:.'
''
....
..~
..,.~1----J~~ I ....
~!----.~ ...,.~,___-~.,.. ....
~!----~
....
Schoolbag
Briefcase
74
Suitcase
Suitcases
~\
(~(.pl,'L./1
J
t
Roller height
Front views
Suitcase
height
Stride
length
Guide for
establishing the
distance between
a suitcase and its
owner.
75
f1
Fashionable Bags
Designers exploit this
type of bag's visible
front, adding patterns
or shapes to make the
bag more styIish.
.
.
Functional Bags
These are primarily sturdy
and comfortable to use.
Sketching Tips
Straps
That Twist
76
(.f
School Bags
Scale
Comparison
with Human
School bags
typically hang
from the
shoulder.
,:i.
/.
f~l>i\\\\\
This disheveled student
wears his bag sloppily
against his back.
~S
U hop ing
Recyclable
shopping bag
basket
Double zipper
77
Sketching Tips
Sketching the Details
Rough sketch
the portion of the strap
the arm to establish how
the strap connects.
~;~~ing
78
Cleaned-up Sketch
Use a standard solid to ensure
that the left and right Widths are
the same.
Shoulder Bags
Duffle Bag
Sketching Tips
grippers.
Clearly indicate
whether the basic
shape is circular or
square.
79
( Backpacks)
Backpacks {Day Packs)
- Fmnt
Side facing
back~
Rear
Magnetic fastener
Snap-lock clasp
Buckle
This area
should form
Front
Profile View
The edge
of the right
shoulder
80
Picture an
ellipse when
you draw
the shoulder
straps.
3/4 View
Clavicle line
"(__
"--
Chest guidelines
the shoulder
straps taper.
Use a block as
the backpack's
base form.
Abdomen - ---H''Ii:h..l
guideline
Schoolbags
Rear Side
Height
Sketching Steps
Position the
schoolbag's
bottom lower
than the waist.
81
Footwear
-.
Centerline
Cover line
This curve covers the toe.
Give thickness to
the sole.
Finished slipper
Names of Parts
Big toe side: The sole's contour
displays bumps and dips.
~ cu!Ved lone.
Anklebone
Top of foot
Toe tips
82
Foot's top
Sole
Heel
Sketching Tips
@ This slope forms
,. the typical vamp.
Q) Draw a strip of
leather at the slipper
line.
Sketching Steps
3/4 View
Actual center
Draw Q) and
and add the foot's
sole.
This is slightly
rear of the
halfway point.
,+--~--..J
83
( Athletic Shoes )
@ These slope
Sketching Tips
Sketching Steps
3/4 View
The eyelets lie in two parallel
rows to the right and left. You
would normally draw a shoe
as a standard solid.
CD After sketching an
outline of the foot, add
the centerline of the
foot's top.
Front View
84
( High-heeled Shoes)
Key Points in Portrayal
Draw the centerline
of the foot 's back and
establish ttle toe's
depth.
Quarter
..___
Front view
Toe
Sketching Tips
Sketch the
foot's layout.
The shoe's toe extends
slightly beyond the
foot's actual toes.
This variation
shows laces
going up the leg . .
These open-toed
sandals have no rear
strap.
85
(~_B_
oo_
ts_)
Sketching Tips
Fold
Differences in Length
Assorted Boots
Differences in Form
Fitted boots:
These boots taper as the eye
moves from the top to the
ankle. They adhere to the
leg's natural form.
86
Scrunch boots:
These boots retain a
relatively uniform width
from the top to the ankle.
Above-the-knee
boot: This boot
extends above
the knee.
Chapter 3
87
Indoor Scene
(f
['
I
.;]
n:-=
88
r " '
Outdoor Scene
89
(~_D_ri_nk_i_ng_GI_as_s_e_s~)
Sizing a Glass
Determine the scale of
the glass in comparison to
a hand before beginning
to draw.
Sketching Steps
Centerline
1 ~qe _b
;:t
st.
t
Height
l
I'
L__
L.._ __
90
G)
Draw an ellipse.
Sketching Tips
'_,
v --
:
Add a slightly smaller
ellipse just inside the
first.
The front~
is thin.
i
I
{
I
1
..................... !.....
'
I
When sketching the layout, establish
where to draw horizontal and vertical
lines and add parallel horizontal and
vertical guidelines. This will allow
you to achieve an accurate drawing
of the object.
Draw a line
from the
exterior ellipse.
Portraying Liquids
-~
~~~~..-~ L,
Glass
Incorrect
,I~~\F--1/
y .
,
have corners.
Wavy lines form at various different
angles on the liquid's surface.
91
(~__H
_ o_ld_i_ng_ a__
G_Ia_s s__~)
CD The fingers
wrap around
the glass and
grip it.
The thumb
supports the glass.
Draw four fingers
wrapping around the
glass and the thumb
supporting the glass.
Paper cup
Paper Cups
Incorrect
-~
-- - ~--
92
Slightly tilte1j
.....---.---=,.._
.....---.
Position of the
liquid's surf~ce
(
\
-----?~------------~ _--- ~
Half-Full of Water
.....---.
Slightly tilted
If the half-full glass were
tilted any further, the
liquid would spill out.
Position of the liquid's
surface
u
I
93
[~_M_
ug_
s ~J
Sizing a Mug
Exterior
ellipse
Sketching Steps
Sketching a Mug
Interior
ellipse
Exterior
ellipse
CD Produce an overall
Sketching Handles
:J t[pJ
~--J.
Mug
Handle
94
cu
( Drinking)
ln:mn0n===n ~:t::;:s,:~:::::~~'
Hand's Appearance When Grasping a Mug
~
--'
'""small
m"gs aceabo"t
tall
as a person's
fist is wideas
.
able
....,
95
('--_c_o_ff_ee_Cu_p_s_a_n
__d_li_ea_c_u_p_s ~J
the rim.
-------
--
......_...
Coffee Cup
96
Teacup
-- .,':-_.l
__
Multipurpose Cups
Giving a character
accurately rendered
props draws out the
character.
Incorrect
1
97
( Teahouse Props)
7J
The common dimensions are as follows. You may
use them as guides.
Common Dimensions
Approx. 70 to 90 mm (2 3/4" to 3 1/5")
Texture
Note where
shadows form.
The handle
should be
approximately
2.5 times the
spoon head's
length.
Direction of light
source
130 to 150 mm
(5 1/8" to 5 3/5")
Shadow
--=-~
~
--
~~
Adding black hatching to the spoon's
edge generates a metallic look and a
sense of three-dimensionality.
Creamer
98
( Dramatizing Cups)
Picking Up and Putting Down Cups
While both the cup below and the cup above have
virtually the same ellipse describing their lips, the
sketch above shows a hand from a distance, while
the one below shows a close-up of a hand.
Breaking/Shattering
99
(~__
Yu_no_m_i _ _]
~.
t
I
Draw a cylinder
according to the
picture in your
mind's eye.
Texture Differences
Use ellipses of
the same size
for the lip and
the base.
Base
Foot
Common Styles
"
Cylindrical
Barrel-shaped
Bowl-shaped
To create a yunomi,
take a cup, remove the
handle, and add a foot.
Use straight lines for yunomi
with smooth finishes.
100
( Holding a Yunomi )
Using Two Hands
~-~
-~--
101
[---__K.yu
:.__s_u_a_nd_ D_ob_i_
n _)
----- Height
centerline
The body is
virtually a circle.
-/
~~~+-~~--++~-rr-;~
..........
102
Use approximately
the same width for
the lid handle and
the spout.
----
The handle is
somewhat longer
than the body.
Sketching Tips
Key Points in Portrayal
Handle
\'\
Spout
fl~---~---:::~:i=:::::::;t--1-- Height of handle
when raised
perpendicular to
the ground.
___
____ _
Body
Position of
spout tip
~p
103
( Stemware
Use ellipses of
the same angle
for the lip and the
foot.
J1
d= - ~
(i
104
Multipurpose
wineglass (red and
white) and water
glass
White wine
glass (Also
non-alcoholic
beverages)
Champagne
saucer (Low and
wide)
Brandy snifter
__..
::s;_ .
--- --
~\
~'S;: - ~
- --- -- -- ~-- -
Widest point
Where stem
attaches
I
I
\
.~
y
, .......
--=~~
Foat width
Decide Which to Emphasize: The Form (Glass as a Material) or the Contents (Wine)
Glass as the Modulate the exterior contour to portray light
Emphasized reflections. This creates the illusion of a glass
Element
texture.
Add lines to
the lip here and
there to suggest
thickness.
Wine as the
Emphasized
Element
.,.
To suggest shadow,
add hatching to
create a play of Iight
and dark, keeping
in mind how liquids
move.
105
Holding Stemware
\cJ
Correct
~ ~~
Incorrect
106
( Portraying Wine)
Empty glass
Wine layout
The portrayal of
reflected light
evokes the sense
of the glass's
texture and
surface.
107
( Drinking )
108
j)
__J . .,''
\. .TJ{
~~~>-~
-;J~
-
\~
~- , .,r:-
1/
'-.
'Y/
'i
':, { /
~\ ~.
~~r?rl ~~
...-:1
'
.......__.....
..
I
'
to be .
............
-<'
''}f-
'
\ (t-;-"~
-+-'
I
The thumb's
cushion
touches the
glass.
109
!C. _
--
":)
Proportioning
~----
"lii!i..-lf,~-~
11 0
Pouring
kles so that
Draw the kn~c bottle should
they align. Tthe same angle.
be ti Ited at e
.
the Bottle
Drinking 1'rom
111
( Beer Bottle0
A character in normal
spirits would pour a bottle,
holding it tilted slightly
upward.
Sketching Tips
Establish the slope in
the shoulders while
determining the
widths of the neck
and body.
Neck
-~~
Neck
.1!\.
CD
Shoulders: Where
the neck and body
connect
Body
Body
Portraying Texture
Light --_,;Dark
Medium
Light
112
Dark Medium
Beer Mugs
Draw a second
Q) A cylinder
drawn as a
standard solid
constitutes the
mug's base form.
,,
CD Attach the
handle above the
base.
Use thick,
angular lines
where the
handle curves
in a new
direction.
Clearly define the handle's top and sides.
Use angular, rugged contours to evoke the
sturdiness of thick glass.
Base
Metal mug
113
\
\
If the fish above looks delicious,
then that alone makes it an accurate
portrayal. Accuracy also implies that
an object has the "ability to appeal."
'
"""""'
Japanese swords
are not perfectly straight,
this sword still evokes that
impressive authenticity of a
sword, allowing it to narrate
the scene.
-....._ ---..;:_.,,___
...
.-_~
~
portrayed.
:
:
:
.
114
:
:
:
:
The goal of
The goal of the
The goal of
the above is a
above is to show the above is to
realistic portrayal. a colored-glass show a bottle.
bottle.
This example
suggests a
glass with
white wine.
Empty Glasses
115
Curved region
The handle is
longer than
the pot's radius.
~--~slightly
/
/
Sketching Tips
116
.. --:
Curved region
Width of base
Width of rim
ll
Metallic
Textures
0
Ladle
Metal spatula
Wood spatula
11 7
Draw the
handles parallel
to one another.
Omitting the
base's exterior
contour creates
the impression of a
metallic luster.
The blade's
spine and the
back of the
hand should
be virtually
~ parallel.
Supporting hand
~~(~
...
Angle of knife
/i,
lfj
\~
-~#--
~-----
--... --
-:.~:..?
~:-ii;~~
Deba bocho (*Japanese carving
knife used for fish)
;J[
:l!:i6- i3
Chinese-style
cleaver
c _
,___,g=~
119
Artists use ellipses to create dishes on a table and hatching to create the
food, which primarily requires suggestion of texture. This section
discusses Western and Japanese dining styles.
( At the Table
( Western-Style Meals)
-------.
_______ _____
Main course
_:_
I.
II
~ ~.\J: .
./
/~
~ . . .~
.-::;\
Ii
p.'
\
/ /'
0-=-
~-
/.7::~-::-:..
' \
-~+--~j-i i\ ,
~//
!/ , -~.,-~-- / ' ,\
/1' JJ
'I
'
Bread: Lightly
applied hatching
using curved
strokes creates
shadows that
portray the rolls as
spheres.
f!
Add the dishes, glasses, and flatware.
120
t
Eating
Eating soup
Cutting a steak
Cutting up a steak
Eating a piece of
steak from a fork
Flatware (Silverware)
Front
Side
-----------------------=---------}-~ --~--------
-nP\
--
- - --------------------- i
Dessert fork
''I
-----
:.
:
~--J1~ _
___Ll______ll_ _ _ _ _ _ _ _ _ _ _ _ _
Spoons
'
121
___l_____ -- -
'
'
\'
122
Eating Scene
lnser1ing chopsticks
into a dish
Picking up
an umeboshi
(*Pickled plum)
1_.--l,H.-h-'--J-
Use long,
curved lines
to portray
wrinkles in the
umeboshts
flesh .
123
( Serving Food )
.(
{ \ , ~~
~'
Tea set
( waitress )
124
Serving Tea
This butler is
wearing a style of
dress coat known
as a "morning
coat. "
- -125
\
'
'
~ -:-------
126
@ The butler
straightens his back as
he presses the napkin
against the bottle's
mouth .
.if
/
Sketching a Bottle
TJ
fl:j.:':
!"
\ ---
Obtain a balanced
proportioning.
127
. oshes
on a Tray
carrymg
1
fu
,
d ositioned undernea
Include the hank~ching the layout.
the tray when s
Glass Tumblers
Wine Glasses
.d to portray the
The ellipse use le while lines
at an ang
tray lies .
to the ground
perpendicular
define the glasses.
Tea Set
128
( Bunnies )
From a moderately
low angle
Sketch the tray approximately level with
the chest and add the arm.
129
(~_
De_ss_ert_s~)
( Pariaits)
./
CD Sketch according to
horizontal c:enterlines
according to how you picture
the parfait.
\,
\'
I.
:i
1:
:!
Parfait's Contents
130
( Fruit Bowl )
,c:\::
~~ _; ; ; , .
~
_, _
___:_:::_-.-
.;;;:.~
~
,'~~
_
.
+
hao
one
' "'with
other.
131
Activity Scenes
(..__li_e_n_ni_s_R_a_cq_u_e_ts_~)
General Proportioning
63 em to
68 em
(approx. 24
4/5" to 26
4/5")
+
Grip - - - 1 4
,.'ffr1
\1
The frame is
t:r:=~==~] . about 2 em
(approx. 4/5")
thick.
Divide the racquet up into the following
three parts-the head, the shaft, and the
grip - when capturing its overall form .
Draw dots at
regular intervals
around the head.
Sketching Tips
/
...
~}
I-
Head -
.,
-+--
Shaft and
grip
132
Draw horizontal
and vertical strings
crisscrossing.
CD Produce a
@ Produce a rough,
general thumbnail
sketch to check the
proportioning.
Sketching Steps
CD Produce a layout sketch.
Appearance of
Passersby
This girl is
carrying a
racquet bag.
This girl is wearing a polo
shirt, a tennis skirt, and is
carrying a large tennis bag
with a shoulder strap.
133
Draw a long tube. The end and the guard are circles. However,
these
become ellipses, depending on the shinai 's angle.
-~
- .....
,/ ......
The shinai bulges
slightly at this
point.
This portion
extends
from the
hilt to cover
the bamboo
portion.
Guard
Grip
Profile View
String securing_\! ~bamboo
Leather cord
securing the
bamboo
1
Hilt
Sketching Tips
CD Draw a cross to
represent the shinai's
basic framework.
134
@ Draw an ellipse
where the bamboo
bulges.
Overhead View
Bats
A leather casing
covers the tip of the
bamboo.
Bats come
to about
the bottom
of the
character's
--- ------
s
--- ---
---"'
si
String
--,
---- -Curved
sides
rfl
[I
--Straight
sides
This part of
the guard
should have
thickness as
shown.
ill
\
-i-l
A leather casing
covers the hilt.
i
t.;
J\ f
fi
Incorrect Example
Knob
Correct
The shoulcler is narrower
than the grip.
Appearance of
Passersby
Baseball
Adjust the
lengths of both
shinaiand
baseball bats
according to
the characters
holding them.
135
(~_G_u_it_a_rs_~
CD Produce a
thumbnail sketch.
@) Final image
Strap
Sketch a block and draw
the guitar while checking the
proportional balance.
The strap is
removable
@) Final image
Acoustic Guitar
------------flffltll----~-f-t-------------,~11!if'-..,---------ll---+----
:
The electric guitar has no
fixed shape.
Appearance of
Passersby
~ The acoustic
'
''
'
'
'
'
'
'
'
'
'
'
!
:
J-_.. . :
These passersby are carrying guitar cases. Guitar cases may be hard or soft.
Horizontal
centerline
guitar is about
twice as deep
as the electric
guitar.
Draw guitar
cases as
a standard
solid.
137
[~_Ta_
ik_
o _____,]
40 em (approx. 15 3/5")
Sketching Tips
20 em
30 em
(approx. 7 7/8") (approx. 11 4/5")
Wearing Tasuki
Tasuki are fabric
stays that cross at
the back and are
designed to hold
back the sleeves.
Wearing a tasuki is
called, " tasukigake. "
138
.....................................
Dressing a character in a summertime, cotton
kimono called a "yukata" and showing her
with treats commonly sold at festivals allows
you to create a convincing festival or fair-like
atmosphere.
Goldfish scoop
for catching
goldfish
Ring Toss
Candied apple
(Baby applesized)
Catching Goldfish
Rings used to
play ring toss
come in two
sizes - small
and large.
'--
Yukata
The sleeves
are longer.
Shaved Ice
Boys wear
obi (*sashes)
around the
hips.
Obi bow
Obi bow
139
Stepping Out
('--_u_m_br_el_
las~J
Sketching Tips
Draw a Cross
Umbrella canopy
'7
-....____
140
__ ..-..,.,..~~~~:::::-
:::;:;-
,~\tl
?
J
?. .....- ..
'
.
--...
It
~ .
...... ...
~
. . T""
_...,..,"'__
~...
'
. . . . . . . ....
CD Sketch a hand
to finish.
j \ \\.
CD Draw a sketch to
match the image in
your mind's eye.
(~~
j
The above shows a Westernstyle umbrella. The tube
is metal and the canopy
contains eight ribs.
142
This is a Japanese-style
umbrella. Both the handle
and ribs comprise bamboo.
Japanese umbrellas have a
large amount of ribs.
( Umbrella Scenes)
Closing an Umbrella
carries the
umbrella in
her hand.
Opening an Umbrella
Running
143
Use the character and the bicycle's wheels to establish the lenqth and height.
Use the wheels' size as a standard for scaling the bicycle as a whole.
(____
Bi_cy_cle_s ________)
Establishing
the Length
Scale Comparison
with Human Figure
144
Sketching Steps
Steps to Drawing a Bicycle
@ Final image
145
'
'
:'
:-+:
Making a Tire
Draw a small
ellipse and
connect it
smoothly with the
other two.
Use a combination
of ellipses to draw
the wheel.
146
(]iding a BicyclE)
Moderate High Angle, 3/4 View
Running
-- --- --- -
f-9-..-;--;;o;~- ~~~
-f,
!!::::
Final image
@ Add the details.
147
...
\ Centerline of the
\ wheel's ellipse
1
Draw the centerline
of the wheel 's ellipse
perpendicular with
. , respect to the axle.
',
CD Sketch a layout ~,'
of the bicycle
148
@ Draw the
G) Sketch the
layout.
This shows a
study of the pose.
@ Final image
149
Motorcycles
method" to locate
the center.
150
portion of the
motorcycle that
the leg covers.
Proportioning
Center
Tank
Seat
The above shows the engine, which is
connected to the muffler.
Axle height
Muffler
Rear
Front
Posture Effects
151
Sketching Steps
parts.
Draw an ellipse to
create line A, which
gives the tire volume.
A: This line
gives the tire
volume.
C: Rim
Motorcycles
should appear
tilted when they
are parked.
@ Draw an ellipse
Make the
shadows'
contours
adhere to the
tire's curved
surface.
to create C, which
de1'ines the rim.
152
( Riding a Motorcycle)
Final image
153
(..___
sc_oo_te_rs_ J
Scale Comparison
Proportioning a Scooter
Centerline
r---t----fr'~+...A.~-......:.::.~r~~="~+-------+~f--- Seat's
height
! Since these
: lines are now
traveling back,
away from the
picture plane,
the proportions
appear
differently than
they do when
we see the
scooter's profile.
From a front view, the wheel obscures
from view parts that are far from the
picture plane. Use the shapes and
proportions in these views as reference
and maintain awareness of perspective.
154
Sketching Steps
Final image
overall form .
155
(~_c_
ar_
s ~J
Draw the entire car so that it fits within a box. Draw the vertical
wheels so that they lie perpendicular to the car's axles.
Proportioning
Standard Car
2m
(approx.
61 /2')or
taller
1.6 m
(approx. 5
1/4') to2
m (approx.
6 1/2') or
shorter
1.7 m (approx. 5 1/2') or shorter
Subcompact Cars
2m
(approx.
6 1/2') or
shorter
Sketching Steps
- ~ -.
--~
__
window block!._ -
---===-r .
--:-
..
'"\
_..,_..-~
'--_.,.--
:~.;\
---
Chassis and
wheel block
157
( sketching Wheels )
Profile view_
Rim
Sketching Steps
CD
Q) Draw an ellipse.
Thicker
158
Black
159
( Spotting Blacks)
Adding solid black (black fill) will give the car an extra sense of weight
and presence.
Shadow reflected
on front windshield
Backseat
Car with Solid
Blacks Added
r\
Wheel
Tire
Car shadow
Using diagonal
hatching on the front
of the car and each
corner gives effective
results.
\
Hatching defines the shadows on
the front windshield, the wheels, and
underneath the car in the above image.
160
Position of female
character's head
Position of male
Backseat
-l-~
I
/!
Guide for
! normally not
: be visible from
routside-the car.
The seats
lean back.
Profile View
Side mirror
dramatization
161
\
\
I
162
ns
163
164
(Fantasy World )
Although this composition is totally original, every form present is based in reality.
165
Point
Cloth is wrapped
around the hilt.
Guard
The hilt has a rhomboid
pattern with gaps.
Hilt
Round
166
Four-leaf clovershaped
Cross-shaped
Wielding a Sword
Profile
Front
CD Sketch layouts of
the hilt and guard as
you envisioned them.
Sketch a layout of
the guard.
Brandishing a
Sword
Establish the
centerline before
drawing.
Showing the
hand touching
the guard gives
the impression of
strength.
Incorrect Example
168
Grabbing a
sword.
Back of the hand view
'
This suggests the
hand is thrust straight
Palm view
169
Incorrect
Incorrect Example: Inside the hands, the sword
appears bent.
Note 2
The blade and hilt share
the same centerline. Be
aware that they connect
when you draw a sword.
Ensure ttlat this line lies
parallel to the hilt when you
draw the hands.
Note 3
If the sword's point ends in
a rhombus, draw the hilt line
parallel to the diagonal that
divides the rhombus into two
halves.
~.
Incorrect Example:
The centerlines
of the hilt and the
blade do not align.
Incorrect
__....-+--.
'
,
170
The blade's
centerline does
not match the
hilt's.
Target Lengths
--- .: 5. 2m (approx. 6 1/2')
--- 1.8 m (approx. 5 9/1 0')
1.6 m (approx. 5 1/4')
Attach a blade to a
staff's tip to create a
spear.
~1]
::
\
Vertical
Horizontal
Vertical and
horizontal
171
Swinging a staff
(This shows the
character after she has
Swinging a staff
Use an ellipse for
the staff's tip.
Draw an ellipse to
describe the staff's
trajectory.
Swinging down
a staff
Apply hatched
diagonal lines to
darken an area of
the staff. This gives
the appearance of
heaviness.
172
Spears )
Lance
Javelin
Head
I \
3m
(approx.
9 7/8')
2m
(approx.
6 1/2')
Common Spearheads
-- ---- - -- 1m
(approx .
3 1/3')
Stone
Bamboo
Triangular
(This is a flat
spearhead.)
This manga-style
spear features a
trident head.
Tndent prongs
Thrusting
Cutting
(The halberd is swung
downward or the like.)
173
Shortbows come to
about the chest in
length.
Sketching Tips
( Bow Structure)
Ref.: Japanese
Western Bows
/_ Arrow
End
Bows
Grip
-~-Center of bow
Cloth/tapewrapped grip
Point where
string attaches
to bow
Bottom of bow
CD Draw the extended arm. Where the hand grips the bow becomes the bow's
center.
@ Sketch the layouts of the bow and arrow so that they lie perpendicular to
one another.
@ Make the upper tip and lower tip equidistant from the bow's center and
produce a layout sketch of the bow in a pulled back position.
0 The bow describes a large arc when it is pulled back. Draw the arcing bow
so that the upper and lower tips bend equally toward the center.
174
grip
String
Grip
If you draw an
archer ready to
shoot from a front
view, the archer's
face wi II not be
visible.
Shooting an Arrow
Ready to shoot
Threading an arrow
( Arrow
Incorrect
Structure )
Length
Arrows extend from
approximately a person's
throat to the fingertips.
LJ:I
approximately 15
em or about 6"
long.
Arrowheads
~~~5====~~~~:' Shortbow
The arrow's end has a
groove for the bowstring.
--[1------J( )1>
When using a
shortbow, the
archer will pull the
bow back so it is
level with the chin.
175
(~_w_e_ap_o_n_s_w_it_h_C_h_a_in_s~J
Morning stars
were mace-like
weapons with a
spiked sphere at
the head.
~ AB
'0
3/4 view
~
Front view
Overhead view
Use B to portray
horizontally and
vertically positioned
s~ikes . Use C for the
center spike. Use A for
all other spikes.
~~~
The chain
/ attaches here.
t :.
~~
-~
-
~
~(?~
-~
<
Sketching Steps
176
Spinning a Flail
{ ,
~
.
ll'
I'
-!
""
:-
11
tl
\... '
1'
-l
The cross-section
is circular.
) ,
If'
Rectangular link
177
Firearms
( Handguns
,j~
# f., - I
.5
~( ,
,, '
'
Semi-Automatics
Handguns can be
roughly divided into two
categories
1) semi-automatics and
2) revolvers.
Colt Python
:j I
ji
Front
178
Rear
il
1!
I.
Front
"'
Rear
( Gun Basics )
An open, rectangular hole is visible.
Left Side
__,--
:~~~
J }'
--=.....'
Revolvers
179
( Semi-Automatics)
Locate the gun's
center and produce a
rough sketch of the
overall form .
Sketching Steps
Low Angle
High Angle
'
180
G) Draw blocks to
produce a layout
sketch of the gun.
The above is a rough sketch of
the gun in profile.
Heckler &Koch USP
l.
Thicken the
contour lines at
these areas.
181
( Revolvers)
Sketching Steps
\
\
~
CD Use hatching to shade the
gun's underside, the barrel, and
the muzzle.
182
Sketching Tips
The appearance of
the bullet and casing
depends on the .
~ cartridge.
Cartridge Structure
#\
The bullet is sent
hurtling.
Casing: This
contains
gunpowder.
Bullets cannot
fly in this
form.
9 mm Parabellum
183
( Muzzles)
'I
'
Sketching Tips
\
,!-.
.
*---
Draw a cylinder.
Final image
Common Muzzles
Smoothbore -muzzle
184
str.~ight
rifling
The type of
composition shown
here would be used
with a close-up panel
or the like.
I
r
185
Sample gun:
Colt Government
./
Firing Poses
Standard Firing Pose
186
Overhead view
Sketching Tips
\\
This character is so
immense, he makes
the same gun look
like a pea shooter.
187
(~_ _Sh_o_
tg_
un_~
High angle
Profile (of the shotgun)
Hi~lh
angle
~---------------------~~~--------~ ~----------------------------~
Stock
Barrel
US M1897 Trench Gun
188
--
~~~'>
~~ -
Barrel centerline
l ow angle
Use blocks to
capture the
shotgun's form .
MP5 R.A.S.
61
l
JJ----
190
Beretta M92F
Beretta M1915
Desert Eagle
FN Browning Hi-Power Mklll
Ruger Super
Blackhawk
New Nanbu M60
Colt Python
Mauser M712
AK-47
Kalashnikov's
191
Echoing Ellipses
Using Ellipses to Portray Tunnels as
Three-Dimensional Spaces
Profile view
Incorrect
~ ~/
/l ..
Correct
192
a tunnel-like space
portrayed from this
angle.
Tunnel's centerline
~ e l li pse 's
Under drawing
Final image
193
Hajime Tsuzuki
194
Arue Niina
Rika Hoshino
Hirosuke Terama
195
Wataru Hisatomi
'l'uki Namiki
Kirakira Shiro
196
Yo Hihara
Shirokuro Yuki
ltsuki Murakumo
197
Takuya Shinjo
/
/
/
0219 (Zeroni Juku)
Gaku
\
;..
-- - ~
19['
Minami Oyaizu
199
Afterword
Manga originated with artists attempting to draw things familiar to them. The Choju-giga or
"Scrolls of Frolicking Animals," considered the world 's first manga, shows frogs and rabbits
holding objects such as ladles, bows, and arrows, and wearing garments, such as hats.
Some argue that manga is pure fiction and does not resemble real life. And, certainly, this
position has a point.
Perhaps you have thought to yourself, "It would be so nice if I could make my composition just
a little more convincing," or "I wish I could design cool characters."
If you can draw successfully personal affects and items, in other words, "props," then even an
object that is difficult to draw, albeit commonplace, you will become able to produce appealing
compositions that exceed the viewer's imagination.
Conversely, a single slipshod "prop" could ruin a well-designed character or scene. One
aspect of props is that they have the power to make or break a composition.
"I want to add props, but my artwork never comes out right. " "I feel like I have to add props,
but I'm not sure what to do."
I wrote this book to teach a few key techniques to those of you who have felt this way.
Applying a little of your knowledge of perspective or going all out to distort objects' forms
when creating a composition that includes props for characters imbues that composition with
an authenticity unique to manga and unlike what we see in drafted drawings.
You will be astonished at how much a single glass held by a character can appeal to your
readers. An ordinary, inanimate "prop" is able to breathe life into a composition. Like the
background or the character, the "prop" becomes an "actor" in its own right and with a heart
of its very own.
A composition teem ing witlll life speaks to the reader. What gives birth to "props" imbued with
a heart and life is your artistic ability.
It is my hope that this book helps you achieve this.
Hikaru Hayashi
Go office
200