Upload
others
View
48
Download
2
Embed Size (px)
Citation preview
ShojoFashionMangaArtSchool,Boys
HowtoDrawCoolCharacters,ActionScenes&ModernLooks
IreneFlores&KrisanneMcSpadden
Cincinnati,Ohioimpact-books.com
ThankyouforpurchasingthisArtistNetworkeBook.
Signupforournewsletterandreceivespecialoffers,accesstofreecontent,andinformationonthelatestnewreleasesandmust-haveartresources!Plus,receiveacouponcodetouseonyourfirstpurchase
fromNorthLightShop.comforsigningup.
orvisitusonlinetosignupathttp://artistsnetwork.com/ebook-promo
Contents
CHAPTER1
Tools&TechniquesToolsLight&ColorShadowDrapingFabricColoraSceneatNight
CHAPTER2
DrawingBodiesTheDifferenceBetweenGuys&GirlsTheNeckTheTorsoTheBackArmsHandsMoreHandsLegsFeetBodyTypesBodyLanguageBodiesInMotionRelaxedBodies
CHAPTER3
DrawingFacesFacialStructureEyesNoses&MouthsDrawLipsEarsDrawEarsFaceShapesFaceStylesHairDrawaFadeHairstyleFacialHairAgeProgressionFacialExpressionsAnglesAccessories
CHAPTER4
DrawingClothesT-ShirtsDrawaGraphicT-ShirtDressShirtsDrawMovementinaTuckedShirtHoodiesDrawaHoodiePatterns&TexturesDrawaCable-KnitPatternOuterwearDrawaLongCoatFromBehindDrawExtremeCoatMovementWinterWearLayersDrawLayersShortsDrawStuffedPocketsMoreShortsJeansMoreJeansDressPantsWaistcoatsSuitsDrawaSuitJacketinMotionFormal-WearAccessoriesShoesDrawDressShoes
Sneakers&BootsDrawSneakersHatsDrawaHatScarves,Gloves&Glasses
CHAPTER5
CoolLooks&ScenesTrevorWilliamsJulesMasonsonRodrickFloresValdezRoyMercadoJeremyMcFaddenBrianFengAlexisJonesCharlieGellerPatience“Patty”WashingtonChoosingAnglesHuggingSkatingDateFallDateConfrontation
CHAPTER6
VehiclesPersonalizedTransportCarsRidingInCarsCarsInScenesOtherVehiclesRidinganATVRidingaBikeRidingonHandlebarsTailgatingScene
AbouttheAuthors
Dedication
CHAPTER1
Tools&Techniques
Everyartisthastheirfavoritetoolsandspecialtechniquesthey’vepickedupovertheyears.Ifyou’vebeendrawingforawhile,youprobablyhaveyourownfavoritesalready.Here,we’llcoversomebasics,incaseyoufindithandytotrythemoutandaddtoyourbagoftricks.Or,ifyouarejustgettingstarted,thischapterwillgiveyouanideaofwhatyouwillneedtopickup.
ToolsThetoolscoveredherearen’tallabsolutelynecessary.Aslongasyouhaveapencilandpaper,youcandraw.Butthesetoolswillhelpmaketheprocessofdrawingmangacharacterseasierandfaster.
PencilsMechanicalpencilsworkwellforalloftheexercisescoveredinthisbook,andyoudon’thavetobothersharpeningthem.
LeadItisagoodideatokeepyourpencilsfilledwithbluelead.Thismakesiteasiertogooversketcheswithdarkergraphiteorinklater.Blueleadalsotendstodisappearwhenitisscanned,leavingthedarkerpencilorinklineswithouthavingtoeraseallofthepreliminarysketching.
BeforeandAfterTheimageontheleftshowsthepreliminaryinksoverthebluesketch.Ontheright,thesameimagewasscannedusingtheblack-and-whitesetting.Thebluelinesinthesketchhavedisappeared.
BrushPensAbrushpenisagoodchoiceforamainpen.Itgivesvaryinglineweightwithouthavingtogooverthesamespotnumeroustimes.
havingtogooverthesamespotnumeroustimes.
GelandFelt-TipPensUsegelpensandfelt-tippenswhenyouhavetodostraightlinesorfillinlargespaces.(Suingabrushpenwitharulercangetmessyanddoesn’talwaysworkverywell.)
PaperYoudon’tneedfancy,expensivepapertodraw.Whetherit’sprinterpaper,thickbristolpaperorposterboard—ifitholdsleadandink,it’sgood.However,some
bristolpaperorposterboard—ifitholdsleadandink,it’sgood.However,somepaperwillworkbetterwiththetoolsyouprefer.Experimenttoseewhatworksbestforyou.IlikeDeleter’sPlainBpaperbecausemybrushpensdon’tbleedasmuch,andinkdriesveryfast.
DigitalToolsTakereferenceshotswithacameraphoneoruseatablettospeedupyourproductiontimebycleaningupandcoloringyourartdigitally.(IuseAdobePhotoshop®andatabletforthis.)It’snot“cheating”becauseitwillnotmakeyoudrawbetterautomatically.Justlike,pens,paintsandothertraditionalmedia,digitaltoolsarejustthat—toolstohelpyouwithyourart.
Light&ColorThecolor,intensityandplacementoflightingcandramaticallychangethelookandthefeelingofyourcharactersandthesceneasawhole.Let’sexaminethesamefaceinseveraltypesoflightingtoseehowchangingthelightingchangesthewaywereadsomeone’sfeatures.
BrightDaylightAfewshadowshighlightthecontoursofthefaceinbrightdaylight.
SunsetThelightfromthesunisn’tveryintenseatsunset,butitspreadsoverawidearea.Thelightsourcecomesfromtheleftandhasanorangetone.Theshadows
area.Thelightsourcecomesfromtheleftandhasanorangetone.Theshadowsonthefacearesofterandnotverydeep.
CellPhoneThelightsourceisblue-greenandcomesfrombelow.Itissmallbutlessintensethanneonlighting,leavinglotsofshadows.
NeonLightFromtheRightThistypeoflightcomesfromasmaller,concentratedsourcethatdoesn’tcreatemuchreflectivelighting.Theshadowsareharsherandtheplanesofthefacearehighlightedbylightandwashedout.
CampfireThelightsourcecomesfromthefiredirectlybelow.
LowFluorescentLightFromtheRightChangingtheangeloftheheadwillchangehowlighthighlightsandshadowscertainfeatures.Thiscanbedonewithvariouslightsourcestointensifyamood.
TheLightofJudgmentThelightsourceisaharshglaringlightfromabove.
ShadowHowyoulightapicturetellsastoryallonitsown!Here’sanexampleoftheexactsamelineartbecomingtwopiecesthatimplyaverydifferentmoodbasedentirelyonhowyouplacethelighting.
FlatColorThepreliminaryimagehasflatcolors,andnoadditionallightingorshadowhasbeenapplied.
DeepenedShadowsTheshadowsontherightweredeepenedwithadesaturatedblue-violet.Thisputsthefaceandfrontofthecharacterinshadow,andimmediatelymakeshimlooklikeabitofashadycharacter.
ChangedLightDirectionAlightlayerofdesaturedgreenshadowsisaddedandthelightsourceisplacedontheleft.Itlookslikeheisperhapsstandinginhisofficewiththelightsoff,litbyfluorescentlightsfilteringinfromthehallway.Importantfinishingtouchesincludeahighlightintheeyeandlighteningalonghisbrowfromreflectedlight.Thisgivesathree-dimensionallook.
BackgroundandLightHerewehavethesamecharacterwiththeoriginalflatcolors,butthetaupebackgroundhasabitofyellowaddedintolightenitup.Thelightsourceisontheright,sohisfaceandfrontarelitup.
ColorandHighlightsArichbrightpurplewasusedtocreatehisshadowonthewall.Astrongeryellow-orangewasusedtohighlighthisface.Nowitlookslikehe’slooseninghistieattheendofalongworkday.
DrapingFabricEveryoneknowsfabricsflutterinthewindonablusteryday.Butitcanbeeasytoforgetthatfabricislyingoverabody,andisoftenchangingtoreflecttheformandmovementofthebodyunderneath.Makesuretoaccountforthisinyourdrawingtoprovideclarityandemphasisofmovement.
WalkingWhenmakingshallowmotionssuchaswalking,fabricmovementislessdramatic.Directthefabricintheproperdirection,suchaswherethelinesonthethighconveywhichlegispullingforward.
RunningThebodymotionofafigurerunningdramaticallyengagesboththearmsandlegs.Whenrunning,thepantshavesharphorizontalfoldswherethefabricisbenttoaccommodatethebody.Theshirtpullsupinthedirectionoftheshoulder
benttoaccommodatethebody.Theshirtpullsupinthedirectionoftheshoulderthatswingsforward.Thehemlineliftsforwardinthesamedirectioninresponsetothearmmoving.
BlowingJacketClingyT-shirtmaterialwon’tmoveinthewindmuch.Butifwearingajacket,thehemlineliftsjustbelowthearmsandgivestherunnerastrongersenseof
thehemlineliftsjustbelowthearmsandgivestherunnerastrongersenseofspeed.
Demonstration:ColoraSceneatNightFollowthestepstolearnhowtocolorasceneatnightandseehowyourcolorchoicescancompletelychangethetimeofdayinyourscene.
1LayIntheBackground
It’snightandthey’reasleep,soadesaturatedblue-graybackgroundislaidinbehindthelineart.
2AddShadowsandShading
Sincetherearesomanyelementstothispiece,allshadingisdoneinmonochromeblue.Thisway,theunderlyingshadowcolorswillbeconsistentthroughoutthepicture.Thelightsourceiscomingfromabove,butdiffusedthroughawindowsotheshadowsaresoft.
butdiffusedthroughawindowsotheshadowsaresoft.
3AddColor
Becauseofthelackoflight,spotsofcolorareaddedusingafairlydesaturatedpalette.Noticethattheshadowsweputinbeforeaddthe
desaturatedpalette.Noticethattheshadowsweputinbeforeaddthenecessarydimensiontomostlyflatcoloring.Ifyouwantedtokeepthisasleeping-at-nightpiece,youwoulddarkentheestablishedshadows,butthat’snotthedirectionwewanttogo.
4BuildUptheLightSource
Ayellow-orangeglowisaddedtothelightsourceabovetheboys’bunkbedandtotheviewer’sleft.Thedrawingwasstartedinbluessothatwhenaddingtheyellow-orangeatthisstageitwillbealmostlikeshiningtherisingsunintothepicture.Italsogivesitabitofasepia-tone,whichwewant.
5AddFinalDetails
Theboyshavesleptin!Thefinaldetailtosellthelookofthesunshininginistocreatecutoutswherethelightfiltersinthroughthewindowslats.Don’tforgetthatthelightbendsatthecornerofthewall,andgetsdistortedonobjectslikethepillow,faceandaviatorhat.
distortedonobjectslikethepillow,faceandaviatorhat.
CHAPTER2
DrawingBodies
Haveyoueverputlinesonamangacharacter’schestorcurvesontheirarmsbecausethat’showyousawsomeoneelsedoit?Thischapterisallaboutunderstandingwhythoselinesandcurvesarethere.Showingmuscledefinitionaddsdimensionalitytoyourart.Evenwithoutanymovementlines,addingthoughtfulmuscledefinitiontoabodymakesitobviousthatthebodyisinmotion.Inthischapter,youwilllearnaboutthedifferentmusclegroupsthat
canaffectyourcharacter’sappearance.Thenyoucandecidehowandwheretoincorporatethembasedonhowyouwantyourmangacharacterstolook.
TheDifferenceBetweenGuysandGirlsFirst,let’slookatanoverviewofthehumanbody.Obviouslynoteveryonelookslikethis,andeventhedifferencesbetweenmaleandfemalebodiesareatbest,ageneralization.However,it’simportanttohaveabasicunderstandingofallthebodypartsinproportiontooneanotherrightfromthebeginning.
Male-FemaleComparisonMentendtohavestraighterhipsandwidershoulders,whilewomentendtohavenarrowerwaistswithhipsaroundthesamewidthastheshoulders.Thinkofthisasonlyaverygeneralguidelinethough,sincepeople’sbodiescomeinmanyshapesandsizes.
TheNeckHerearesomeexamplesofnecksandhowtheymoveandconnecttotheheadandshouldersinvariousposes.Practicedrawingtheseandotherposeslikethemtogetanideaoftherangeofmovementintheneckandhowitlookswhenturnedfromdifferentangles.Trytopracticeshowingofftheprominentmusclesandboneswithoutusingtoomanylines.
OverviewThissimpleexampleshowshowtheneckmusclesappearonthebody.
MajorNeckMusclesThemusclesandboneslabeledarethosethatshowthemostdefinitiononthebody.Theclavicleandsternumwillbelessvisibleonheaviercharacters.Thetrapeziusanddeltoidwillbelargeroncharactersthatusealotofupperbodystrength.Thesternocleidomastoidismostvisiblewhensomeoneisstretchingtheirneck.
StretchedandBentPosesHeretheneckisshowninprofileandwhenstretchedatvariousangles.Notethatwithoutloweringthejaw,someone’schinwon’ttouchtheirchest.Andwhentheheadistiltedback,theneckdoesnotmakeastraightline.
TheTorsoNowlet’slookatthetorsoandthedifferentmusclegroupsinthatareaofthebody.Everyonewillhavethesemusclesinvaryingsizesdependingonhowoftentheyworkthemout.
TorsoMusclePlacementTheabs,orrectusabdominis,sitonthefrontofthetorso.Theserratusanterior,whichareoftenmistakenfortheribcage,areactuallyribbonsofmusclethatrunoutfromtheribs.
SketchingMuscleStructureStartwitharoughtorsosketchtogetthebasicproportionswhereyouwant
Startwitharoughtorsosketchtogetthebasicproportionswhereyouwantthem.Thenbydrawingontopofthat,youcaneasilychangethesameshapetomaleorfemale,muscularorflabbyasitsuitsyou.
ConsiderHowMusclesAffectMovementWhenyoudrawbodiesinvariouspositions,thinkaboutwherethemusclegroupsareandwhattheyaredoing.Musclesarewhatallowthebodytomove,sotheyshouldbestretchingandbendingalongwithyourcharacter.
TORSOSTYLESHerearesomewaysyoucanvarythestyleandposeofatorsotochangethelook,emotionsandpersonalityofyourmangacharacters.
FrameworkFirstDrawyourframeworkfirst,thenaddmusclemasstoit.Thatwayyouwon’taccidentallymessupyourskeletalproportionswhendrawingdifferentbodytypes.
ExaggeratedMusclesVeryfewpeoplehavethiskindofmusclemass,butanexaggeratedlookcanhelpyougetanideaofwhatthevariousmusclegroupslooklikeonabody.
LeanMusclesThisisthesameguy,butwithhisarmsliftedup.Helooksleaninthisposebecausehismusclesareallbeingstretchedupward.
Skinnyvs.MuscularNaturally,musclesgetbiggerwhentheycontract.Youcanreallytellthedifferencebetweenaskinnypersonandamuscularpersonwhentheyhavetheirarmscrossedlikethis.
ConsiderProportionsThesethreefiguresareallthesameheight,buttheyhavedifferenttorsolengths.Thisaffectsarmandlegproportions,sotrytokeepallofthisinmindwhendesigningyourcharacters.
TheBackBacksaren’tjustaflatplanewithsomeshoulderbladesjuttingout.Thinkaboutthemusclegroupsandhowyoucanseethemmovingwhenviewingacharacterfrombehind.
FrameworkoftheBackTheseexamplesshowthemainframeworkoftheback.Notethatthespineandshoulderbladesarethemostprominentlinesontheback.
MovementandDirectionNoticehowthemusclesontherightsideofthebackchangedirectiontoaccommodatetherightarmstretchingupward.
Contractedvs.LooseMusclesRemember,musclesaremoredefinedwhenthey’recontracted.Comparetherightsidetotheleftonthisfigureatitleanstotheright.
PayAttentiontoAngleKeeptrackofwhatthebodyisdoingfromallangles.Youshouldbeabletoturntheposearoundandstillkeepthelimbscorrectlyspacedinrelationtotherestofthebody.
ArmsDon’tbecontentwithformless,noodlearms!Here’swhereallthemusclesgothatgivearmstheirshape.
ProminentMuscleGroupsoftheArms
RelaxedMusclesWhenrelaxed,thearmmusclesarestretchedoutandnotveryvisible.
FlexedMusclesWhenflexedthearmmuscleshavealotmoredefinition.
ForeshorteningExamplesofforeshorteningonanoutstretchedarm.Byrememberingtoincludethedipsandflarescreatedbymuscle(orfat),thearmhasthethree-dimensionalityneededforyoutoseeitisstretchingouttowardyou.
HandsHandsareachallenge.Theonlyrealsecrettodrawinghandsistodrawlotsandlotsandlotsofhands.Thiswillgetyoustarted.
BoneandMuscleStructureoftheHandIntheviewsofthehandfromthebackandinprofile,noticethatitisnotflat;thepalmnaturallycurvesabitifthethumbispulledin.Whenthehandissplayedout,themusclesinblueareonthefrontofthehand.Youcanseethemcreatetheraisedareasonthepalmshowninthepreviousimage.
ForeshorteningHerearesomeexamplesofhandposeswiththesegmentsofthehandemphasized.Especiallylookattheforeshortenedexamples,whereyoucanseehowthesegmentsgetsmallertoshowdimension.
MoreHandsHerewehavelotsandlotsofhands,seenindifferentpositionsandfromdifferentangles.Thehandsinredsegmentthefingersoutsoyoucanseeexactlywheretheyshouldbebending.Practiceyourhanddrawingskillsbydrawingtheonesonthispagefromanewangle.Anddrawoutthesegmentsfirstsoyougetusedtothinkingaboutthewaythehandisputtogether.
HANDSINACTIONHerearesomeexamplesofhandsinteractingwitheachotherandotherobjects.Whendrawinghandsinaction,drawthroughyourobjectsothatpositioningandproportionofthehandstaysconsistent.
LegsLikewitharms,beawareofwherethemusclegroupingsinthelegsare.It’seasytogiveyourcharacter’slegssomeinterestingdefinition.
LegMusclesUsethisasareferenceforwheretoaddbulkwhendrawingmuscularcharacters.
ForeshorteningThelegissegmentedoutheresothatyoucanseewherethekneeiskneeisplacedonthefirst,andthecalfisplacedonthesecond,butyouwouldn’tnormallyhavealineallthewayaroundlikethat.
KneesInthefirstimage,theleftkneeismoredefinedsinceitissupportingthecharacter’sweight.Inthesecondimage,therightlegappearsshorterbecauseit’sbendingforwardattheknee.
FeetFeethaveafairlylimitedrangeofmovement,sotheyaren’tquiteasdifficultashands.However,itwillstilltakeagooddealofpracticeuntilyouwillbecomfortabledrawingthem.
ToesThebigtoeisfattest,butthesecondonetendstobelonger.Thelasttwotoescurlinward.Butifyoulookatpeople’sfeet,toescomeinlotsofsizesandshapes.
ShapeandMovementThinkofthefootasaseriesofconnectingshapesandpieces.Makesureyoualwaysdraweachpieceinsteadoflettingthemmeldtogetherintoapoorlydefinedshape.Thepurplegaprepresentsthepartofthefootthatcanmove.Theheeland
frontpadaretheimmobileblocksconnectedbythestretchycenter.Obviouslytoescanmovetoo,butthisiswhatyoushouldkeepinmindwhendrawingfeetcurling,arching,walkingandrunning.
ContractedMusclesThemusclesinthefootcontractwhenastepistaken.
SkinCreasesSkincreasesonthebottomofthefootcanhelpshowthedirectionthefootistwisting.
FeetinProfileWhenthefootisinprofilewiththepinkietoefacingyou,theothertoesarestillmostlyvisible.Whenthebigtoeisfacingyou,theothertoesaremostlyhidden.
mostlyvisible.Whenthebigtoeisfacingyou,theothertoesaremostlyhidden.
LowerLegMusclesDefinedThroughMovementTheAchillestendoninparticulartendstobevisiblewhenwalkingorrunning.
BodyTypesMixingupyourbodytypeswillleadtoacastofcharactersthatisrelatabletoawiderrangeofpeople.Nowthatyouknowhowtodraweachpartofthebody,youcanworkonchangingupthefinalproduct!
DrawingDifferentBodyTypesYoucanalterthelookofyourcharacterbychangingthelengthandwidthoflimbs,shoulders,hipsandthetorso—eventhewaycharactersstand.
1. A:Broadshoulders,narrowhips2. B:Shouldersandhipssamesize3. C:Narrowchest,widerhips,kneeswiderapart(bowlegged)4. D:Slopingshoulders,widerhipsandwaist,closedlegswithtoesturnedoutward
Masculinevs.FeminineBodiesThickerchests,widershouldersandobviousmuscledefinitionallleadtoacharacterlookingmore“manly,”whilelargerbreasts,widerhipsandsoftcurvesallleadtoamore“womanly”look.However,noteveryoneexistsoneitherendofthisspectrum.Somecharacterswillbemoreandrogynous,likethethirdandfourthfigure.Also,there’snorulethatmalecharacterscan’ttakeafewcharacteristicsfromthefemininesideofthespectrum,orvisa-versa.
BodyLanguageYoushouldn’tjudgeabookbyitscover,butmanypeopledoanyway.Whatwillyourcharacter’slookandstancesayaboutthem?
BodyLanguageAddstoCharacterThefirstfigureisstandingstraightwithshouldersandhipsperpendiculartothespine.Createanewstancebychangingthedirectionofthespine,hipsandshouldersindifferentways.
MuscularWomenWe’vebeenusingmalemodelsforexamplesofmusculature,butmusclesworkexactlythesamewayonfemalebodies.Eventhoughitisraretosee,thereisabsolutelynoreasonfemalecharacterscan’thavebulky,extremelydefinedmuscleslikemalecharactersoftendo.
MixUpBodyTypes!Thekeytoadiverseandinterestingcharacterlineupisrealizingthatpeoplearenotallthesamesizeorshape(orcolor)!
BodiesinMotionDon’tdrawpeoplejuststandingstill,facingyou,whenyoucandrawthemmoving,orevenjuststandinginmorenaturalposes.Practicedrawingnaturallookingposeslikethese.
WalkingNotethetiltoftheshouldersandthewaythehipofthebody’srightlegjutsouttotaketheweightwhiletheleftarmswingsforwardtokeepbalance.
ContrappostoThisisaposewheremostoftheweightisononeleg,whichcausestheshoulderstotwistoffaxisabit.Hereyoucanseeitinthewaytheshouldersslumpofftotherighttobalancealloftheweightontherightleg.
RelaxedBodiesRelaxedposescanbejustasinterestingtolookatanddrawasmovingbody.Practicedrawingrelaxedposeslikethese.
RoughSketchDevelopandthenneverlosethehabitofdrawingaroughsketchofyourposes!Aquicklittlefeaturelessfigurewillmakeiteasierforyoudetermineifyourproportionsarerightandallbodypartsaccountedforbeforeyoustartputtinginlotsoftimetodetailyourlineart.
DramaticMuscleDefinitionWhentheweightofthebodyisononearm,themuscledefinitioninthatarmismoredramatic.Also,considerthesurfacethebodyison;herethefloorhe’ssittingoncausesaprettystraightlinealongthethigh,calfandbottomoftherightleg.
Ifyouaren’tsurehowtodrawaposelikethisone...
…trydrawingitfromadifferentangle.Thanusethatasareferenceforhowitwouldlooktwistedaround.Allthepartsareinthesameposition,youjustneedtovisualizethemfromdifferentangles.
ForeshorteningHereareafewmoreexamplesofforeshorteningonlimbs.Lookatthewaythebodyissegmentedtogetabetterideaofhoweachpieceisbeingforeshortened.
CHAPTER3
DrawingFaces
Facescanbeoneofthemostchallengingaspectsofdrawingcharacters.Ifyoucan’tconsistentlydrawthesamefaceforonecharacter,whilemakingsurethateachcharacterhastheirownuniquefacialfeatures,yourreadersarenevergoingtobesureofwhotheyarelookingat.Inthischapter,we’llbreakdowneachfacialfeatureandwalkyou
throughhowtodrawit.Thenwe’llputitalltogetherattheendtotalkaboutexpressions.
FacialStructureAttheirmostbasic,allfaceshavethesamesymmetricalfeatures.Familiarizeyourselfwithhowtosketchthemoutsoyoukeepeverythinginproportionandinplaceonacharacter’shead.
Malevs.FemaleFacesLiketherestofthebody,therearenohardandfastrulesaboutwhatmakesafacemaleorfemale.Butgenerallymenaredrawnwithsharperanglesandbolderlines,whilewomenhavemorepronouncedlips,softercurvesandlongerlashes.
FacialStructureGuidesUsesimpleguideslikethistomakesurethefacestayssymmetrical.Rememberthattheeyesshouldalmostalwaysbeinthemiddleofthehead.
AngularFacialStructureUsethistomakesureyourepresentthefeaturesaccuratelyfromdifferentangles.
HighlightsandShadowsKeeptheterrainofthefaceinmindwhencoloring.Areasthatcontouroutwardliketheforeheadandcheekboneswillcatchthelight,andinwardcontourslikethebrowandeyesocketswillbemoreshadowed.
EyesMostpeoplestartbydrawingtheeyesfirst,sincetheyarelocatedinthecenterofthehead,andtheyneedtobeplacedperfectlyacrossfromeachother.
EyesAreSpheresWhendrawingeyes,theupperandlowereyelidsthathousethemshouldbendaroundthatsphericalshapeoftheeyeball,evenwhentheeyeisclosed.
StylesofEyesEyescomeinmanydifferentshapesandcolors,sogetcreative!Manyoftheseexamplesarecartoonish,butthatalsomeansthey’reeasytodraw.Don’tforgettovarytheeyebrowforadditionalpersonification.
EyesConveyEmotionTheeyesalonecanexpressalotofemotionbasedonhowwidetheyareopen,thedirectiontheyarelookingandthepositionoftheeyebrow(s).Practiceconveyinganemotionwithjusttheeyes.
Noses&MouthsTimetolearnaboutthenoseandthemouth!We’recoveringthemtogetherbecausewhenviewingthemouthfromdifferentangles,thenoseservesasaclearindicatoroftheperspective.
BasicShapeoftheNoseObviouslynosescanvaryinwidth,length,bridgeheight,shapeandsoon.Practicedrawingdifferentshapesandstyles.
DRAWLIPS
1Outline
Outlinetheheightandwidthofthelips.Makethetoplipisroughlyhalftheheightofthebottomlip.
theheightofthebottomlip.
2BuildUpShapes
Addadimpletotheupperliptogiveititsshape.OutlinewithshallowVsaboveonthetopandbottomoftheupperlip.
3ConnectLines,AddDimension
Connectthelinesofthetopliptothecornerofthemouth.Thenthelowerlipisjustalargecurveonthebottom.Addthelinesoftheskinintheshadowed(lower)areaofeachliptogivedimensionandrealism.
4InkIt!
Carefullychoosewheretoputyourlines;ifyoudrawthelipsallinthesameheavycompletelines,itwilllookveryflat.Uselightlinesonthelipsthemselves,andleaveitwhitewhereyouwantthemtolookglossyandsupple.Usedarkerlineswherethelipspresstogetherandatthecornersofthemouth.
TeethThereareafewdifferentwaystohandledrawingteeth:draweachindividualtooth;drawalltheteethwithjustagestureandalinebetweenthem;orjustleavetheteethasanindistinctwhiteband.Theyareallvalid,thoughdrawingeachindividualtoothisprobablythehardesttopulloff.Gettingtheadditionaldetailrightisimportantsincemistakeswillbecomemoreobvious.
TypesofLipsPlayaroundwithdifferenttypesoflips:thin,thick,shortandlong.Theselittledetailsmakeaperson’sfacedistinctive.
EarsLikefingerprints,everyearisdifferent.Soyoudon’thavetoworryabouttryingtodrawthemtheexactsamewayeverytime.Justgetthestructuredown.
TheHumanEarTheearshowninfullrealisticdetailsoyouknowwhatyou’llbesimplifyingforamangastyle.
DRAWEARS
1Outline
Drawtheoveralloutlineoftheshapeoftheear.
2AddLines
Fillintheprominentlines.
3CreatetheOuterShell
Continuebuildinguplinestocreatetheoutershelloftheear.
4AddDetail
Addfinaldetailssuchasinnerridgesandcontours.
FaceShapesBasicFaceStructureAllofthefeaturesareevenlyspaced.Theeyesdirectlyinthemiddleofthehead,withnothingtoobigortoosmall.
FacialCompositionThinkoffacesascompositionsofvaryingshapes.Herearesomebreakdownsofdifferentfacesandhowtheshapecompositionchangeswitheachone.
FaceStylesOnceyou’velearnedhowtomakefaceslookdifferent,youcanstartexaggeratingandsimplifyingthosefeaturesintoastylizedlookthatsuitsyou.
BasicProfileStructureThebasicstructureoftheprofileisverysimple.Thistimetheearisinthecenterinsteadoftheeyes.Thinkaboutwheretheneckconnectstothehead.
StyleOptionsAreEndlessSomepeoplehavelongerorflatternoses,juttingorshallowerchins,straightorrecedingforeheads,andsoon.
WalkBeforeYouRunTherearereallynolimitsorrulesonhowtostylizethehumanface,butyoushouldpracticemasteringthefeaturesbeforeyoustartsimplifyingthem!
HairWhendrawinghair,thinkofthewholeeffectinsteadofwhereeachindividualstrandgoes.Youdon’twanttodraweverystrand;justenoughsopeopleknowwhatyou’reaimingfor.Therecouldreallybeanentirebookdedicatedjusttohairstyles,butlet’stalkaboutafewtipsformakingsureyourhairlookslikeitfitstheheadit’son.
HairlinesBeforeyoustartdrawinghair,thinkaboutwherethehairlineis.Isitloworhigh?Curvedorawidow’speak?Keepthisinmindforwhateverhairstyleyou’redrawing.
DrawmanynarrowcurlyQsoverthesamearea.Thewhitespacelookslikehighlightsorskinpeekingthrough.Forthehairline,tinynon-uniformstrokesgivetheeffectofshorthairsleadinguptothelongerones.
AlwaysDrawtheHeadShapeFirstEvenifyourcharacterhasvoluminoushair,drawthewholehead,establishthehairline,roughouttheshapeofthehair,andthenactuallydrawitin.
DRAWAFADEHAIRSTYLEFormanymen’shairstyles,thehairtapersasitgoesdowntheneck.
1EstablishtheHairline
Startbyestablishingyourhairline.
2EstimateLength
Estimatewhatstrandlengthyouwanttohaveateachlevel.
3AddStrandsofHair
Usetinystrokesforthetinystrandsofhair,andlongerstrokesforthelongerstrands.Drawtheminlittleclumpsinsteadofuniformly.
4AddDetail
Addfinaldetails.Staggerthelengthsabit.Youdon’twantaclearlinebetweenshort,shorterandshorteststrandsofhair.Whenaddingthestubbleattheverybaseofthetaper,trytinylinesinsteadofdots.
WavyHairFornaturallywavyhair,givethelinesabitofacurve—evenonthetinyhairs.
Lightvs,DarkHairLight-coloredhairgetsalotofnegativespace.Don’tfillitupdrawingeverystrand.Justdrawthelinesaroundtheedgesofaclumporinshadowedareas.
Darkhairismostlyink,soitgetsmorelines.Leavewhitespaceinstrandsandnarrowclumpsforhighlights.
FacialHairThetechniquesfordrawingfacialhairaren’treallyanydifferentthantechniquesfordrawinghaironthehead.Usethesametinylines,clumpsandcarefuluseofwhitespace.
FacialHairPlacementThebluemarksindicatewherefacialhairgenerallywillgrow.
AgeProgressionBeingabletodrawthesamecharacteratdifferentagescanbeoneofthemostdifficultskillstomaster.Youhavetothinkalotaboutthesubtlewaysbodieschangeastheyage,andhowtorepresentininkthelittletellsweseeonotherpeople’sfacestofigureouttheirage.
ProportioninAdultsvs.ChildrenAdultshaveverydifferentproportionsfromchildren.Theyaren’texactlythesamefrompersontoperson,butrememberthatchildrenaregoingtohavenarrowershouldersandshorternecksthatmaketheirheadslookreallylarge.Theheadisalsorounderandsmaller.Theeyesarethesamesizeforlife,soonachild’ssmallskulltheylookparticularlyhuge.
Age12Thecheeksarefullofbabyfat.Thefeaturesaresquishedclosetogether.Thenoseisshorter,withoutmuchdefinition.Overallthefeaturesaresofterandrounder.
Age19Thejawhasstartedtosquareout.Thefaceislonger,sothefeaturesarelesssquished,andcheeksarelessround.
Age27Nomoreyouthfulroundness,andthere’safewmorelinespronouncingthepuffylowerlidoftheeye.
Age34Nowmorelinesareappearingundertheeyesandaroundthemouth.He’sputtingonsomeweightsoyoucanseeahintofasecondchinandhischeeksaregettingroundagain.Nostrilsareabitlargeraseverythingonthenosestartstosinkdownward.
Age52Nowthewrinklesarereallysettlinginontheforeheadandaroundtheeyes.Thetopeyelidsarestartingtodroopandmaketheeyeslooksmaller.Thejowllinesarealsofirmlyestablished.
Age68Morewrinkles,andhishairhasthinnedoutalot.Nowyoucanseelinesaroundhislipsandcheekbones.Everythingissaggingnow.Thebaseofthenoseseemsmuchlargerthankstothecartilagegrowingandslidingdownoveralifetime.Gravity!
FacialExpressionsPeopledon’talwaysfeeljustoneemotionatatime.Learningtorepresentthecomplexityofhumanemotionsthroughfacialexpressionisimportant.Herearesomeexamplesofhowitmightlookwhensurprisegetsmixedwithsadness,orfearismixedwithanger.Payattentiontothingslikeeyebrowplacementandangle,shapeofthemouthandopennessoftheeyes.
WatchFacialExpressionsforCluesWatchpeople’sfacestogetanideaofwhatminutemovementsareinformingyouifsomeoneismocking,teasing,excitedorunimpressed.
ExaggeratedExpressionsInmangaorcomicart,expressionstendtogetalittleexaggerated.Itisokayformouthsandeyestobeextrawide,orbrowstobedrawndownreallyfar.Itmakestheexpressionseasiertoreadinamediumwherepeoplehavetorelyentirelyonwhatyoudrawtoknowwhatsomeoneisfeeling.
entirelyonwhatyoudrawtoknowwhatsomeoneisfeeling.
AnglesNowthatwe’vetalkedaboutallofthecomponentsofthehumanface,putitalltogether!Practicedrawingfacesfromdifferentanglesandwithdifferentexpressions.Don’tforgettoroughoutthestructureoftheheadfirstsothatyouknowwhereeverythinggoesandwhatthecorrectproportionsarebeforeyoudothedetails.
AccessoriesThepossibilitiesofcreatingdistinctcharactersareendless!Onceyou’vegottenthehangofmakingcharacterslookuniquewiththesizeandshapeoftheirfeatures,don’tforgettosprucethemupabitwithotherdetails.Freckles,scars,piercings,tattoos,eyewear,hatsandmakeupareallgreatwaystoaddpersonalityandinteresttoyourcharacter.
CHAPTER4
DrawingClothes
Whetheryoulovespendinghoursthinkingabouthowyourcharactersdress,orhavenevergivenitathoughtandhavenoideawheretostart,thischapterisforyou.Whilethereisclearlynopossiblewaytocovereverytypeofclothing,wewillcoveralotofthestaplesofmen’sfashion,plusafewthataren’tsocommon.Thischapterisgearedtohelpyougetideasonwhatyourcharactersmightbecaughtwearing—whetherit’sacasualsummerdayorwinteratabusinessformal—andhelpyoufigureouthowtodrawit.
T-ShirtsT-shirtsarethemostbasicofthebasic.Theycomeinmanyvarietiesofcollarsandsleevelength,nottomentioninfinitecolors,patternsandlogos.
MixandMatchCollarsandSleeveLengthsWhendrawingsheerclothingliket-shirts,itwon’tlieexactlyflat.Usesmalllinestoindicatehowthefabricisfallingandwrinkling.
T-ShirtStylesThinkaboutwhatcolors,patternsandstylesyourcharacterwouldbedrawntoanddrawtheminthose.
T-SHIRTPATTERNSANDCOLORSDon’tfeellikejustbecauseyourcharacterisa“jeansandt-shirtguy”thatmeanshiswardrobecan’tstilllooktotallyuniquetohim!
BodyPositionAffectsfabricandPatternsThesamet-shirtstyleisshownindifferentcolors.Keepinmindthatthebody’spositionaffectsthefabricwhichalsoaffectsthepatternsonclothes.
Demonstration:DrawaGraphicT-ShirtWantyourcharactertobeabletoshowoffhisappreciationforhisfavoriteband,movieorcomic?Followthestepstodrawagraphict-shirt.
1EstablishthePose
Pickaposeandmakesuretheclothingrespondstothebody.Herethejumperislooseonthebodysoitbunchesuparoundthestomachasthetorsobendsforward.
2CleanUp
Cleanupthelineart.Mostofthecreasesareontheelbowwherethesleevesarepushedup.Thestomachjusthasafewlargefoldssothelinesarelongerandfurtherapart.
3ConsiderPatternEffects
Theredverticallinesshowhowtheshirtpatternwillbeaffectedbytheripplesinfabric.
4ConsiderImagePlacement
Ifthecharacterwasstandingstraightandtallfacingyou,theimagewouldappearlikethis.
5DrawtheImage
Whendrawingtheimageontotheshirt,thinkofitasbeinginsections.Thesectiongetscutoffhorizontallywherethereisabigfold.Thendrawapiecealittlefurtherdownontheimageonthenextfold.
6AdjustFabricDetails
Inthiscase,thefabricisalsodistortedverticallybecausehe’ssittingatanangleandhisthickjumperispullingalottowardthefront.
DressShirtsButton-upsordressshirtsareshirtsthatopenandbuttonupinthefront,usuallyalsowithcollarsandcuffs.Theyareverytypicaldresswearformen,particularlyinanywhite-collarfield.Themoreexpensiveoneswillcomeinavarietyofrichercolorsanddecadentcloths.Remembertokeepbuttonsevenlyspaced.Alsokeepinmindthat
sometimesdressshirtshaveanextraflapoffabricthathidesthebuttons,ortheycanbehiddenunderties.
ButtonsFastenedThefabricpullstighterwherethebuttonsholdtheshirttogether.
Demonstration:DrawMovementinaTuckedShirtFollowthestepstodrawmovementinatuckedshirt.
Whenstandingstraightandfacingforward,thebuttonsgodownthefront-centerofthebody.Iftheshirtistuckedin,therewillbesomecreasingandfabricbunchingatthewaistband.
1EstablishthePose
Whenthebodytwists,thecentrallineofthebodymoves.
Whenthebodytwists,thecentrallineofthebodymoves.
2DrawtheShirtandCreases
Thatcenterlineisrepresentedbythelineofbuttonsontheshirt.Sincetheshirtwastuckedinwhenfacingstraightahead,thetwistingmotionwillpullthatfabrictowardtheright,wherethetorsoisturning.Therightarmisraisedupaswell,whichcreatesmoreupward-pullingcreases.
3MakeFinalAdjustments
Raisingtherightarmandshoulderpushesuptheshirtcollar(whichholds
Raisingtherightarmandshoulderpushesuptheshirtcollar(whichholdsitsownshape),crumplingitagainsttheshoulder,andpartiallyobscuringthechin.Themovementstretchesthefabricbythebuttons.Addshadowedgapsinbetweenbuttons,wherethefabricisbeingpulledapart.
HoodiesHoodiesareoneofthemostpopularformsofouterwear.Becausetheycanbewornopen,partiallyopen,fullyzipped,withhoodsupordown,andcomeinmanystyles,theyhavealotofpotentialcharacter.Hoodiesareusuallymadeofthickfabric,sotheseammakesthebackofthehoodstickout.Ifsomeonepullsthehoodforwardfarenough,itwillobscuremostoftheheadandface.
HoodUpWhenpulledup,thebackofthehoodcanappearabitshapeless,soaddabitofdetailbyhintingattheseamandthefabriccreasingaroundtheneck.
detailbyhintingattheseamandthefabriccreasingaroundtheneck.
HoodDownWhenpulleddown,thehoodbunchesupagainstthenape.
Child’sHoodieChildren’shoodieshavelessfabricsotheyretainmoreoftheirshapewhenthehoodisdown.
StripesWhenyou’redoinganystripedtops,thinkofhowthestripescarryontothesleeves.Inthiscase,theyareevenlyspacedsoifhisarmswerehangingdownthepatternwouldappearunbroken.
DRAWAHOODIE
1StartWiththeBasicShape
Startwithaconicalshapetogooverthehead,butwithanopeningthatis
moreofanoval.
2DrawtheHeadandHood
Drawtheheadandmoldthehoodaroundit.Thebottompartofthehoodtapersaroundthefaceandconnectsbacktothefrontofthehoodieataboutthelevelofthecollarbones.
Patterns&TexturesDrawingpatternsandtexturestakesaneyefordetailandsomepatience,butitdoesn’thavetobedifficult.Herearesometipsonhowtodrawsomecommononesfoundinmen’sclothing.
Cable-KnitPatternFirst,thepatternwassketchedoutinred.Whenyouwanttodrawaparticularlynoticeabledetail,likethecablepatternhere,uselongerlineswithfewersmalllines.Thishelpsthemstandout.
HerringbonePatternTheverticalguidelines,whichcentertheupsidedownVthatmakesaherringbonepatternareshowninred.
SuggestTexture
SuggestTextureYoudon’tnecessarilyhavetodrawinthetexture,butsimplysuggestit.Here,abrushpenwasusedtoexpresstexturewithvaryinglineweightandunbrokenwobblylinesthatfollowthecable-knitpattern.
DrawingKnittedTextureUseshortcurvedlinesinrowstorepresentknittedtexture.Thelinesdon’thavetobeperfect;theyevenlookmoreorganicwhentheyaren’t.Inshadowedareas
tobeperfect;theyevenlookmoreorganicwhentheyaren’t.Inshadowedareasofthegarment,usebolderlines.Inlighterareas,usethinnerlinesorleavegapsinthetexture.
DrawingHerringboneTextureThispatternalsodoesn’thavetobeperfectlyaligned.Itistightenoughthatitstillcomesacrossasaverysymmetricalpattern.
CrosshatchingTocross-hatch,useaseriesoflightand/orthinlinesgoingonedirection.Thenaddshadowswithmoresetsoflinesgoinganotherdirection.
StitchingInmanygarments,butmostnotablyindenimandleather,thestitchingisasmuchapartofthedesignasthestyleoftheclothing,sogetcreative!Youcanusetight,brokenlinestorepresentthestitches.Itdoesn’thavetobeperfect.
TextureAddsInterestandRealismHere’sanexampleofwhatadifferencedrawinginthetexturemakes.Crosshatchingwasusedtotexturethisdenimjacket.Leavingthecuffuntexturedmakesitobviousit’sthereversesideofthefabric,andthewholejacketfeelsmorerealthanwhatjustthelineartcanprovide.
StitchingFromaDistanceThefarawaystitchingstillhastwolines,butdrawingthelinesontopofeachotherconveysthatitismoredistant.
otherconveysthatitismoredistant.
WoolTextureDrawingtightlycoiledwoolisaseasyascreatingdots.Youdon’thavetodraweveryindividualcurl.Woolorfurwillhaveasoftoutline,sojustdrawtinybumpyorcurvedlineswithlotsofgaps.
Demonstration:DrawaCable-KnitPatternKnitpatternshavetoconveytextureaswellaspatternsshiftingacrosscloth,sotheycanbetricky.Followthestepstodrawacable-knitpattern.
1Outline
Startwithyouroutlines,andthenyoucansketchinthepatternwithbluepencil.
2DrawthePattern
Withknitgarments,thecolordifferencesareseparateyarns.Theyareactuallypartofthestructureofthegarment,andtheweaveisbasicallyseveraltinyblocksofcolor.Sothepatternsshouldlooklikelittlepixels,insteadofasmoothlinelikeaprinteddesign.
3Highlight
Addmoretexturebyhighlightingtheribbingonthehat.
4FinishWithShadowDetail
Finishbyshadowingtheentiregarment.Thisaddsdimension.Withouttheconnectingshadows,thecolorslookdisparateandflat.
Black-And-WhitePattern
Youcanalsodocable-knitpatternsinblackandwhite;justusethepixel/blockmethod.
OuterwearTherearevarioustypesofouterweartoputmalecharactersin;itdoesn’talwayshavetodefaulttohoodies.Jacketsandcoatscanvaryinlength,fit,material,aswellastheuseofzippersand/orbuttons.Therearedifferentcollars,lapels,pocketsandfabrictexturestoconsider.Gonuts!
Demonstration:DrawaLongCoatFromBehind
1DrawtheSketch
Evenwhendrawingsomeoneinalongcoat,firstsketchoutthebodyunderneath.Alongcoathasbigswathsoffabric,andifyoujustdrawthecoatthenaddthelimbsafterwardyouranatomywillprobablygetweird.
2ContourtheCoattotheBody
Acoatcanstillbetailoredandfollowlinesofthebody.Herethecoat
Acoatcanstillbetailoredandfollowlinesofthebody.Herethecoattapersatthewaist.Thefabricisdrapedagainstthemovementofthebackleg.
3AddPullLines
Theleftsideofthecoatisrestingagainstthebackleg,sotherearepulllineswhereitistuggingthefabricoftherightsideofthebackofthecoat.
FORMALCOATSFormalcoatsaregenerallywornoversuits,havelonglabels,godown
pastthehipsandareusuallydouble-breasted(thatmeansthefabricatthefrontcrossesoverthechesttwice,andisheldinplacewithtwosetsofbuttons).
Demonstration:DrawExtremeCoatMovementFollowthestepstocapturethatclassicmomentwhereyourcharacterishitbyagustofwindsostrongthathiscoatflapswildlybehindhim.
1SketchthePose
Sketchoutthepose.Rememberit’salmostimpossibletolookintoastrongwind,soyourcharactershouldbereallyfeelingit.
2AddFabricCreases
He’sholdingthelapelsofthecoatinhandandpullingitforward,whichmakesthefabrictightagainsthisback.Thefabriccreasesuptowardhisfist,whereitisbunchedup.
3StretchFabricAroundtheButtons
Thebuttonsarekeepingthecoatclosed,sothefabricfliesoutjustunderthefinalbutton,andthefabricstrainsagainstit.
4AddFinalDetails
Thefabricflyingoutbehindhimreallygivesanideahowstrongthewindis,inadditiontotheinitialpose.Wheretherightsideofthecoatwascaughtinfrontofhisbody,it’splasteredtohisrightleg.
WinterWearUpuntilnow,we’vemostlybeendealingwithcoolweatherwear.Nowwearetalkingwinter.Heavysnowandsub-freezingtemperaturesmeansheaviercoats,thickscarves,hats,glovesandlotsoflayers.
ThinFabricWiththinfabric,likethiscardigan,theoutlinesdon’tgetfarawayfromtheskin.
QuiltedFabricThisquiltedjacketisalittlethicker,sothelinesextendfurther.
ThickFabricThickwinterjacketshavemoreinsulation,andyoucanseethatfromthewaytheoutlinesrestfarawayfromthebody.
ChildSizeChildren’sclothinghassmallerproportionsbutthefabrichasthesameamountofpaddingasanadult’sjacket.Itmakeskidslooklikelittlepuffysmooshballs!
FabricThicknessAffectsBodyShapeThethicknessofwinterclothingtendstomakeeveryonelookliketheyhaveamorerectangularfigure,asdifferencesinshapegethiddenunderlayersandlayersoffabric.
LayersLayersnotonlykeepyouwarm,theycanalsobeagreatfashionchoice.Theycreatemoreinterestthanasinglet-shirtorsweateralonewould.
FabricThicknessAffectsLayeringWhenyoulayerclothes,makesurethatthethicknessofthefabricyouusestillaffectsthealready-existinglayers.Here,hisouterjacketsqueezesdownonthefabricofthecardiganonhisleftforearm.
Demonstration:DrawLayersFollowthestepstodrawlayeredfabric.
1SketchtheBodyShape
Sketchtheshapeofthebody.
2SketchtheBottomLayer
Sketchthebottomlayerofclothing.Makesuretheseamsandlines
Sketchthebottomlayerofclothing.Makesuretheseamsandlinesdrapeandreacttotheposeappropriately.
3BuildUpLayers
Keepaddingtheclothinglayersovertheexistingones.Thoselayerswillreactwiththeposeaswellasthegarmentsalreadythere.
4ContinueAddingLayers
Eventhoughseverallayersoftheclothingwon’tshowafteryoudrawthe
Eventhoughseverallayersoftheclothingwon’tshowafteryoudrawthetopmostgarment,it’sstillimportanttosketcheverythingsoitlooksproper,suchastheraisedshouldersofthecoatsincethere’sallthatfabricunderneath.
5AddFinalDetails
Addthedetailsuchasthefabriccreasesandtheshadowsunderthe
Addthedetailsuchasthefabriccreasesandtheshadowsundertheseparatedpiecesofclothing.Alllayerswillhavesomedegreeofcreasingandshadow,andtheywon’talllayperfectlyontopofeachother,sotheshadowsshouldnotbeauniformthickness.
ShortsShortsaregenerallyonlysociallypermissibleinacasualsetting.However,yourcharactermaynotwanttowearanythingbutshorts!Shortscomeinmanydifferentlengths,stylesandtextures.
TightShortsTighterclothingcanbeeasiertodrawbecausethefabrichugsthelinesofthebody.Youjusthavetoaddthecreaseswherethefabricispulledbymovementorjoints.
LooseShorts
LooseShortsForloosershorts,makesurethatthefabricstillreactstothecontoursofthebody.Thismeanscurvingaroundthebehind,creasesbehindthekneesandbetweenthelegs.
Demonstration:DrawStuffedPocketsGuysfrequentlydon’tcarrybags,soinsteadthatstuffgoesintheirpockets.Followthestepstodrawstuffedpockets.
1SketchtheBody
Likealways,beginbysketchingthecharacter’sbody.
2DrawtheClothes
Drawtheclothing.Theseshortsarealoosertypeofcargoshorts.
3DrawtheObjects
Drawtheobjectsinthepockets,becausetheyreactdifferentlytobeingshovedinapocket.Thesleekphoneslidesandrestsatthebottomofthepocket,andit’sslantedbyrestingagainstthethigh.Intheleftpocketisabulkierwallet.Itsthicknessandtexturekeepithighinthepocket.Theredlinesshowthepullandstretchofthefabric.
4CleanUpandDrawCreases
Cleanupthesketch,thendrawthecreasesthatappearatthepocketedges.Theoutlineoftheobjectsinthepocketsiscreatedbythetightfabricpulledacrossthem.
5AddFinalColor
Usecolortoaddmoredefinitionofhighlightsandshadows.
MoreShortsSometypesofshortsandpantsarepressedorstarchedwhentheyarecleaned,whichishowyougetthatnicecrisplinerunningdownthefrontoftheleg.
JeansJeanscomeinvariouscutsthatusuallyhavetodowithhowhighthewaistcomesup,howloosetheyarearoundthehips,andhowthefabriciscutfromthekneedown.Men’sjeansdon’thaveasmuchvarietyaswomen’s,buttheymoreorlessallworkthesame.
LowRiseSkinnyJeansWithskinnyjeans,thefabrictaperstohugthecalfandankle.
MidRiseStraightCutJeansMid-risemeanstheysitfairlyhighonthehips.Straightcutmeansthefabricfallsstraightfromthekneetotheankle.
fallsstraightfromthekneetotheankle.
MidRiseBootCutJeansBootcutmeansthatthefabricflaresoutabitjustbelowthekneetocreatea
Bootcutmeansthatthefabricflaresoutabitjustbelowthekneetocreateawiderlegfromthecalfdown,sothesejeanscaneasilyslideoverboots.
MoreJeansHerearemorejeansinvariousposestohelpyougetanideaofwherecreasesformandhowtheysit.Oneofthekeyelementstoincludesothattheyreadasjeans,eveninblackandwhite,isthevisiblestitchingontheinnerandouterseams.Mostjeansalsohaveroughlythesameshapeofpockets.Thebackpocketsareparticularlydistinctive.
DressPantsLikeshorts,dresspantsusuallyhaveanironedcreasedownthecenteroftheleg.Theyalsoaremadefromlighterfabricthandenim,soinsteadofbunchingupandbeingstiff,theyhanglooseraroundthekneesandankles.
DrawingDressPantsThewaistlineisusuallyatthebellybutton,andthefabricisn’tastightatthehipsasjeansare.Theycanalsohavecuffsatabouttheankle,butthecutfromkneetoankleisstraight.
OTHERTYPESOFPANTS
SweatpantsSweatpantsareusuallyloosesothecrotchofthepantshangslow.Iftheyaretoo
long,thefabricfoldsuparoundtheankles.
CasualPants
CasualPantsNotsweatpants,butdesignedtohaveasimilarbagginessinthehipsthatresultsinalowcrotchonthepants.Unlikewhenboysweartheirwaistbandverylowonthehipsandtheythreatentofalloff,thesearedesignedtofitsecurelyatthewaist.
WaistcoatsWaistcoatsareessentiallyformalwearvests.Theyareusuallywornoveradressshirt,andaregreatforuniformsastheyaddanairofformalitywithoutbeingaswarmorcumbersomeasjackets.
Single-BreastedWaistcoats
Double-BreastedWaistCoats
DressUpHere’sanexampleofwhatkindofeffectdressingabitdifferentlycanhave.Sameperson,butinthesecondimagehe’scombedhishairabitdifferentlyandputonsomelesscasualattire.
DressDownWaistcoatscanalsobedresseddownwithat-shirtorothercasualattire.
SuitsWespentalotoftimeonsuitsinthepreviousbook,ShojoFashionMangaArtSchoolYear2,sothistimelet’stakealookatthesuitinaction.
StiffSuitThissuitjacketismadeofstifferfabricandistailoredtolooksleek,butyoucan’talwaysdrawsomeonewithstraightshouldersandtheirarmshangingdown.
WrinkledSuitThissuithasbeenwornafewtoomanytimeswithoutbeingpressed.Justmakingtheoutlinesslightlywavyandaddingafewextrawrinklelinesonthe
makingtheoutlinesslightlywavyandaddingafewextrawrinklelinesonthesuitgivesitthisrumpledlook.
TiesRememberthatunlessitisbuttonedin,atiewillflapinthewindorhangawayfromthebodyifyourcharacterbendsover.
Demonstration:DrawaSuitJacketinMotionFollowthestepstodrawasuitjacketinmotion.
1SketchthePose
Drawaveryanimatedpose.Whensketchingthebutton-upshirt,thefabricshouldbeveryclosetothebody,withthegarmentpulledstraightaroundthetorso.
2BunchUptheFabric
Thefabricisbeingstretchedbetweentheraisedarmsandwhereit’stuckedinatthewaistsobunchituparoundtheshoulders.Pulldownthecuffsofthesleevesontheforearms.
3ContinueAddingPullsandCreases
Whendrawingthejacket,thesleevecuffstendtobeshorterthatthebutton-upshirtanyway,sopulldownevenmore.Theshouldersandupperarmsarewherethetailoringshows.Thefabricisticker,morerigid,soinsteadofconformingtothecurveoftheshoulders,thefabricgetspushedupinstead.
4AddFlareandColor
Therestofthejacketflaresout,followingtheseams.Ifitwasbuttonedclosed,thefabricwouldbepulledupwithlinesradiatinginaVfromthebuttonedcenterheadingtowardstheraisedarms.
Formal-WearAccessoriesTheseaccessoriesaren’texclusivetoformalwear,butusuallyaddabitofformalityandflarewhenaddedtoanoutfit.
PocketSquareThisisessentiallyasquareofcloththatcanbefoldedandtuckedintoabreastpocket.Theycanbefoldedinanumberofwaysandaddaniceaccentcolor.
CufflinksThesepinthecuffofashirttogether.Likemostjewelry,theycanbeflashy,
subtle,elegant,personalornerdy.
Bowties
BowtiesBowtiesareontheriseagain.Agreatwaytoaddsomefunorformalitytoanoutfit,dependingonthepatternandcolor.
TiePinsTiepinscanbepinnedtothemiddleofatie,orgohorizontallyacrossthefrontofthetie.Likecufflinks,theycomeinmanystyles.
AscotsAnascotisessentiallyawidenecktie.Theycanbewornlooseortiedlikeamoretypicalnecktie.
ShoesTimetodressthosefeet!It’snotuncommonforpeopletobeevenmoreparticularaboutthetypeofshoestheywearthanotherclothing,sothinkaboutwhatstylesuitsyourcharacterbest.
ToeShoes
Flip-Flops
Sandals
DRAWDRESSSHOES
1SketchtheBasicShapes
Sketchthefootandthenthesoleoftheshoe.Thesoleshouldbebiggerthanthefootandhaveaslightlyraisedheel.
2DrawtheShoe
Ifyouweredrawingflip-flopsorsandals,you’ddrawoutthestrapsinbetweenthetoes.Forshoes,encasethewholefootandsketchoutthefeatures.Startwiththelinedownthemiddleofthefootwherethelaceswillgo,thisactsasareferencepointformakingsureeverythingelseontheshoeissymmetrical,evenwhenseenfromanangle.
3CleanUpandColor
Cleanupthesketchandfinishit.Rememberalotoffinedetailsaren’taboutbeingmeticulousandprecise.Justafewdotsinwhatisroughlyalinewillconveystitchingwithoutyouhavingtobreakoutanyrulers.
HeelsAffectFootPosition
HeelsAffectFootPositionFromthisangleyoucanseethewayanythingwithaheelontheshoeisgoingtoreflectonthefootinside.
Loafers
Oxfords
MonkShoes
BoatShoes
Sneakers&BootsSneakersandbootshavetheadvantageofofferingalotmorevarietythanyoucanusuallyfindinmen’smoreformalwearshoes.Sneakersinparticularcancomeintonsofcolorswithlogosanddesigns,andbootscomeindifferentstyles,withandwithoutfur,zippers,laces,Velcroandvariousotherembellishments.
DesertBootAlightweightbootmadefromsuedefabric.
WorkBootSimpleandcomfortable.
CombatBootHasathickersole,aheaviertreadandusuallygoesovertheankle.
SnowBootOvertheankle,heavytread,withalotofinteriorinsulation.
DRAWSNEAKERS
1SketchtheBasicShapes
Sketchthefootandthenthesoleoftheshoe.Startwiththesole.Sneakershaveaflatterplatformwithnoheel,butit’susuallythickerthanadressshoe.
2DrawtheShoe
Mostsneakersandsportshoeshavemorecushioningaroundthefootthanadressshoeorloafer.Keepthisinmindasyousketchtheoutlinearoundthefoot.
3FinishWithDetails
Sneakerscomeinalotofvariety,sodowhateveryouwant.Youcanaddcharacterevenwithlittlethingslikehowtheshoeisworn.Herethelacesdon’tgoallthewayupsotheyhavealooserfit;perfectforjustslippingonandoff.
HatsTheseaccessoriesaren’texclusivetoformalwear,butusuallyaddabitofformalityandflarewhenaddedtoanoutfit.
BaseballCaps
KnitHats
KnitHatsKnithatsfollowtheshapeofthehead.Thicknesscanvarydependingonhowinsulatedyouwantittoappear.Makeuseofsmallandlonglinestoconveythepatternoftheyarnwork.
InsulatedFurHat
Outback/Western/Cowboy
Fedora
Cadet
Flatcap/Newsboy
PorkPie
Demonstration:DrawaHatFollowthestepstodrawahat.
1SketchtheBasicShapes
Afterdrawingthehead,sketchanovalwherethehatwillsitonthehead.
2BlockIntheHat
Thetopofthishatcomestoaslightpointatthefront,sousethecenterofthefacetodrawaguidelineforwherethatpointshouldcometo.
3AddDetails
Don’tforgetthathatshaveseamsandstitchingtoo.Thereshouldbeathicknesswherethefabricfoldsormeetsanotherpieceoffabric,oritwilllookflat.
4ConsiderMoodandColor
Beawareofwhatthehatbrimwillhide.Thiscanaddtothemoodofyourcharacter,butifyoudon’tplanaheaditmightnotbethemoodyouwant.
Scarves,Gloves&GlassesScarves,glovesandglassesaresomecommonaccessoriesyoucanusetosnazzupanycharacterdesign.
ScarvesTherearevariouswaystowearascarf,somemorefashionable,othersbetteratcombatingthecold.
ExperimentWithDifferentStylesofGlassesExperimentwithwhatstyleofglassesyouthinklooksbestonyourcharacter.Somestylestendtobetterfitdifferentfaceshapes,suchaslongerrectangularonesforwiderfaces.Youalsowanttothinkaboutwhatstyleyourcharacterwouldaimfor.
DrawingGlassesfromanAngleDrawingglassesatanangletakesalittlemorepractice.Rememberthatpartsofthemaregoingtodisappearbehindthenoseandthebrow.
GlovesGlovescanbewornforwarmth,fashion,workandrecreation.Justkeepinmindwhatthey’llbeusedfor;fromgardeningtoconstruction,ridingdressageorridingmotorcycles.
CHAPTER5
CoolLooks&Scenes
Sofarwe’vebeentalkingaboutallthedifferentwaysyoucanusedesign,bodytypeandwardrobetocreateacharacterotherscanrecognize,investinandidentifywith.Inthischapter,webringallofthattogethertoshowoffacastofdiversecharactersthathopefullywillinspireyoutodothesame!We’llalsocoverdrawingcharacterstogether,howtheyinteractwithandreacttoeachother,andhowyoucansetitallintoascene.
Demonstration:TrevorWilliamsNotthetypetomincewords,Trevorthinksofhimselfasasimpleguy.He’snaturallytheharmlessandeasygoingtype,andwasbulliedalotbeforehisgrowthspurthit.Nowhehasabitofatemperthatwasinstilledinhimbyhisprotectiveyoungersister,Beck.Aslongasitisn’tmalicious,he’llputupwithanyamountofteasing,evenabouthishat,butassoonassomeonestartstogetmeanwithhimoranyonehecaresfor,Trevorisreadytoteachthemthatthebestdefenseisagoodoffense.
1StrikeaPose
Startwitharoughsketchofthepose.Trevorisaprettyrelaxedguysomakesurehisweightisleaningonhisleftarm,withtherightonerestingeasilyonhisthigh.Sinceyouknowwhatbodytypeyouwanttoaimfor,startwithalreadywideproportions.
2FillItIn
Timetoroughouthisbodytypeandfacialfeatures.Thefatmeansyoucan’tseemuchmuscledefinition,butmusclemeansthefatdoesn’thanginrolls.Theresultisjustanallaroundbulkyguy.Hisframeisaffectedbyposeandclothes;noticehowthetighterpantscinchinatthewaistand
thenavelislookssquashed.
3RoughInClothing
Nowroughintheclothesoverthebody.Thecreasesinthelettermanjacketareroundedoverthestomach,andtherearepadsinsidethefootballuniformpantsthatmakeavisiblerectangleonhisthighs.
4DetailandInk
Refine!Timetoaddallthedetailsoftheclothes:thebuttons,theseams,thewrinkles.Alsotakealookatyouranatomyandfixithere.
5Color
Loyaltytoyourteammeanswearingtheircolors,somoreoftenthannot
Loyaltytoyourteammeanswearingtheircolors,somoreoftenthannotyou’llfindTrevordeckedoutingrayandorange.Whencoloring,laythemalloutinflattonesfirsttomakesureyoulikethecomposition.Thenaddtheshadowsandhighlightsinlayers.
Demonstration:JulesMasonsonDespiteaseeminglyunlimitedamountofcreativeenergythathepoursintothewritinganddesignoftabletopcampaigns,Julesisjustnotwhatyouwouldcallapeopleperson.Though,inhisdefense,hereallyisn’ttrying.Julesknowswhoheisandwhathewants,andthatlisttendsmoretowardplayersinhisgamesthancasualornot-so-casualacquaintances.Butifyoucantoleratehisfrequentandlengthydiatribesonwho-did-what-wrong,followedbyboutsofbroodingsilence,you’llfindsomeonewithloyalty,honestyandagoodsenseofhumor,whoisactuallyfairlyeasilybulldozedintodoingyoufavors.
1StrikeaPose
Sketchthepose.Julesistallandskinny,butstandswithanotableslouch.He’salsonotthefriendliest,sogivehimaclosed-offposture.
2FillItIn
Addbodydetail.Hisweightisonhisleftlegsothemusclesthereare
Addbodydetail.Hisweightisonhisleftlegsothemusclestherearemorecontracted.Everythingelseisprettyloose.He’sgotsomewirymuscle,butnotalot.
3RoughInClothing
Eventhoughthiswillfinishwithhimwearingacoat,roughintheclothesunderneathfirst.Thishelpsmakesureanylayersdrawnoverithangcorrectly,andifyou’regoingtodrawhimrepeatedly,it’sgoodtoknowwhathe’swearingwhenhetakeshiscoatoff.
4DrawtheCoat
Drawthecoatovertheclothingbeneath.Sincethedresspantsandshirt
Drawthecoatovertheclothingbeneath.Sincethedresspantsandshirtfitwell,thereisn’treallythatmuchaddedbulk.
5DetailandInk
Timefordetails.Makesureeverythinglooksjustright.(Thescarfwasfixedsothatithangsbetweenthecoatlapels.)Addcuffsandpocketstothecoat.
6Color
Julesisn’tadversetocolor,butgraygoeswitheverything,sothebulkof
Julesisn’tadversetocolor,butgraygoeswitheverything,sothebulkofhiswardrobeisneutrals.Thismeanswhenhedoesthrowonacoloredshirtorscarf,itgoesfinewithouthimhavingtooworrymuchaboutthisfashionbusiness.
Demonstration:RodrickFloresValdezPhysicallyactive,emotionallyrelaxed,frequentlycharming,andjustalittlebitdistant,Rodhasthetendencytoignitealittlecrushineveryonehemeets.Somethingheisperfectlywellawareof,ifneverquitesurehowtodealwith.HisinterestslaylesstowardwooinganypotentialsuitorsandmoretowardscalingthenearestruggedterrainonfootorinhisATV,orpossiblyjustfloppingbackonhiscouchtolistentosomeclassicrockfromhiscollectionofvinyl.
1StrikeaPose
Whensketchingoutthepose,foreshortenitalittlebecausetherightlegishanginglowerthantherestofthebodyasheclimbsup.
2FillItIn
Rodhasamorerectangularbodytype.Hisshouldersareaboutthesamewidthasthehips,withoutmuchofadipforthewaist,butit’smostlymuscle.Therearelotsofanglessincehe’susingthosemuscles.
muscle.Therearelotsofanglessincehe’susingthosemuscles.
3RoughInClothing
Timetoroughintheclothesandaccessories.Theshortsarepulledtight
Timetoroughintheclothesandaccessories.Theshortsarepulledtightagainstthetopofhisleftlegandthebackofhisright,stretchingthefabricwithhislongstance.
4DetailandInk
Addthedetails.Eventhoughtheclothesarefairlybaggy,youcanstillgetasenseofhowfitheisfromhowmuscledhiscalvesare.Thisguymusthikealot!
5Color
Whendealingwithsomethinglikeasheercliffface,youwanttobecarefultokeepthedirectionofthesuninmind.Ifit’ssunnythelightisgoingtoreflectbrightlyoffthestone.Ifhe’sintheshadowofthe
goingtoreflectbrightlyoffthestone.Ifhe’sintheshadowofthemountain,theshotwillbealotdarker.
Demonstration:RoyMercadoWhosaysclassclownswillneversucceedinlife?CommonwisdomfailsepicallywhenitcomestoRoy,whoisalmostasfullofcharmandgentlemockeryasheisaninsatiablepassionforcoffee.Workingtotakeoverhisfamily’sbeach-sidecoffeeshop,he’sbeenhookedonthestuffsincepre-pubertyandsaysheisn’tholdingagrudgeoverthewasteitlaidtoanypotentialgrowthspurt.
1StrikeaPose
Startwithaplayfulfingergunposeandcontrappostostance.
2FillItIn
Roughinthebodytype.Royisshortbutwithanaveragebuild.Hislegsareabitlongerthanhistorsobutnotbymuch.
3RoughInClothing
Startaddingtheoutfit.Helookslikethetypewithalotofpersonality,soputthatinhisclothes,too!Thickhalf-frameglasses,rolleduppantcuffs...andhe’sthetypetowearshoeswithlifts.
cuffs...andhe’sthetypetowearshoeswithlifts.
4DetailandInk
Adddetailtothefacialfeatures.Youcangofromverygenericfacial
Adddetailtothefacialfeatures.Youcangofromverygenericfacialfeatureplaceholdersandaddlittledetailstosignifyspecificracialbackgrounds.
5Color
It’snotthatRoyputsalotofthoughtintohiswardrobe,it’sjustthatheshamelesslyputsonwhateverhelikes—andhelikesbrightcolors,jewelryandclose-fittingfabric.
Demonstration:JeremyMcFaddenThequiettypewithasharpwitandsometimessurprisinglysharptongue,Jeremyisasmuchacraftsmanatconversationasheisatknitting(andcrochet,andwirework,andsomepainting...).Heismoreofalistenerthanatalker,buthisobservationsarealwaysonpointandsometimescutting—onlytoprovidethemosthonestandhelpfulfeedbacktohisfriends,ofcourse.
1StrikeaPose
Youwanttosketchoutthewheelchairalongwiththepose.Youdon’tneedtodoasmuchdetailasIdid,sincealotofthatwon’tshow,butgetenoughintherethatyouhavetheproportionsofthewheelchairfiguredout,sonothingismisplacedlater.
2FillItIn
Jeremyhasaslightlychubbybody,soadjusthisposeandproportionsa
Jeremyhasaslightlychubbybody,soadjusthisposeandproportionsabitasyouaddbulk.Thisisalsoagoodpointtodetailinthechairandaccountforotherpropslikehisknittingneedles,whichwillhelpyouposehishands.
3RoughInClothing
Roughintheclothes.He’swearingsomethingcomfortableandabit
Roughintheclothes.He’swearingsomethingcomfortableandabitbaggy,soyoucannowprettymuchonlytellwhathisbodyshapeisbythewayhisupperarmsareabitthick.
4DetailandInk
Detailandinkthelineart.Hissweatersagsdownaroundhiselbowsandhiswaist,andthereareshadowsunderthebuttonsofhissweaterandhisknittingbasket.
5Color
Forallheisanartisthimself,Jeremyisprettyeasygoinginhisown
Forallheisanartisthimself,Jeremyisprettyeasygoinginhisowndress,it’smoreaboutcomfortandwearinghisfavoritecolorsthandressingtoimpress.
Demonstration:BrianFengUsuallyknownonlyasFeng,whichiswhathappenswhenyouhaveapproximatelyonemillionsiblings;strangersandfriendsalikestarttoconsolidateyouintooneeasy-to-remembername.Whichisjustfinebyhim,asFeng’sexactlyaseasygoingashelooks.Notthetypetogethisfeathersruffledbymuchofanything,Fengworkspart-timeatthebeach,teachingyoungstersandtouriststhebasicsofsurfing,anddividestherestofhistimebetweenhelpingwithhissiblings,napsandkeepingRoyandPattyfromcomingtoblowsonthesubjectofcoffeevstea.
1StrikeaPose
Sketchthepose.Hisleftarmishiddenbehindhisback,butyoustillwanttosketchoutwhereitwouldgo.It’salsoforeshortenedbecauseoftheanglewewouldbeseeingitat.Sincehisarmsaretakingsomuchofhisweight,hisshouldersriseupinresponse.
2FillItIn
Whenyoudefinethebodyyoucanseehe’sathletic.Exceptforthelittlerollathisbelly,thereisn’tmuchfatonhim.
3AdjustandRoughInClothing
Afterfillinginthebody,keepmakingadjustmentsfromthatfirstloosesketch.Hisrightarmistoofarawayfromthebodytolookcomfortable,somoveitcloser.Alsoroughintheclothing.
4DetailandInk
Youcanseetheobviousdifferencebetweenhisshirt,arashguardandlooseboardshorts.Thefirstisaclingy,fittedfabric,andtheotherislooserandabitstiff,soitdoesn’tshowhisfigureaswell.
5Color
Feng’snotreallyonetoworryaboutifhisclothesmatchornot.Feng’sallaboutcomfortandputtingonthecleanestsetofclotheshecanfindonthefloorthatmorning.Healsodoes100%ofhisshoppingwhereheworks:thebeach.
Demonstration:AlexisJonesAdancerofballetandcontemporary,toseeheronthestageyouwouldn’tguessthatAlexisisusuallythetypetostayatthebackofthecrowdorfindherselfaquietcornerintheunlikelyeventshesomehowwandersintoaparty.Buteveryonefindsdifferentwaystoexpressthemselves,andforAlexisitwasdance.Whetheritisunderaspotlightorduringhoursofgruelingpractice,shetacklesanychallengewithexuberancethatpullsothersalongasmuchasitgetsherthrough.Toobadshestillhasn’tfigureouthowtodoapplythatenergyandconfidenceanywhereelse!Rightnowshe’sstillworkinguptheconfidencetoaskacertainbaristaformorethanjustacupofcoffee.
1StrikeaPose
Don’tbeafraidofmoreextremeposes.Thehumanbodyisamazinglyflexible,andifyou’reeverdoubtingyourself,lookupsomereferencesinbooksoronline.Thisisespeciallyhelpfulforsomethinglikeballet,whichhasprettyspecificpositionsandposes.
2FillItIn
Alexishasalotofmusclefromyearsofdance.Sheisalsoshort,soitmakesherlookfairlystocky.Inthispose,youcanseemoremuscledefinitionintheleftleg,sinceit’sholdingalltheweight.
3RoughInClothing
Roughintheclothes.Thetopisstretchyandformfitting,buttheskirtislightandairy.Itseemstofloatawayfromthebody.
4DetailandInk
Theleotardisformfitting,andyoualsowanthertolookveryelegant,sodon’tdrawinfabriccreasesexceptforthelittlebitwhereherwaistbendsassheliftsherrightleg.
assheliftsherrightleg.
5Color
Forherskirt,don’tuseinkedlines.Showingthatthegarmentexistsbycoloring,alongwithmakingittransparent,givesitamuchlighterfeel.
Demonstration:CharlieGellerHaveyoueverknownexactlywhoyouareandwhatyouwanttodoandwhatyouneedtoachievetogetthere?Ifso,youalreadyhavealotincommonwithCharlie.She’sgoingtobeadirector,afamousone,butprobablynotforanotherfifteenyears.It’sokay,she’sgoingtopaceherselfrealistically,becausethere’snotmuchspaceinherlifelongplanforshatteredillusions.Whennotdirectingsmallcommunityplaysinoroutofheruniversity,Charlieisdoingeverythingfortheshowthatisn’tdirecting:acting,choreography,costumes,sets,lighting.Currentlysheadmitstobeingajack-of-all-trades,butfiguresthatifshekeepsupatthisrate,shewillbeamaster-of-allinduetime.
1StrikeaPose
Referenceadirector’schairanddrawitslinesfirst.Workthecharactersketchontopofit.Sincetheobjectisprettyrigidyou’llhavetoworkyourwayaroundit.
2FillItIn
Thischaracterhasalotofweight,sodrawthatoverthesmallerframe.
Thischaracterhasalotofweight,sodrawthatoverthesmallerframe.Peoplecarrytheirweightindifferentplacesbuttosomeextent,fatwillalwaysbespreadacrosstheentirebody,soevenherfeetandhandsaregoingtogetabitlarger.
3CheckProportions
Useredlinesforreferencepointssoit’seasiertomakesureyouhaven’tlosttrackofproportionsandthebody’ssymmetry.
4RoughInClothing
Timetostartroughinginclothing.Sheisdressedinwell-fittedclothing,sothereisn’talotofstretching.Thebackandtheseatofthechairaremadefromastifffabric,soitstretchesabitbutnotmuch.
5DetailandInk
Youcandesignclothestomakethemlookflatteringornot.Thebeltdefinesthewaistandaddssomedetailthatbreaksupwhatwouldotherwiselooklikeatoo-largeexpanseoffabric.Withthechair,add
otherwiselooklikeatoo-largeexpanseoffabric.Withthechair,addsomeshadowandimperfections;littlenicksandvaryinglineweightwillmakeitlookused.
6Color
Charliedefinitelyputsalotofthoughtintowhatsheswears,fromthe
Charliedefinitelyputsalotofthoughtintowhatsheswears,fromtheslimmingVpatternofhertoptosubtleuseofaccessories.Also,don’tforgetthatleggingscanbefunandcolorfulaswell,eventhoughasoliddarkcoloristhestandard,there’snoreasontheycan’tcomeinasmuchvarietyasanygarment.
Demonstration:Patience“Patty”WashingtonPattyisengagedinalongterm,faithfulrelationshipwithherhighschoolsweetheart;thevintagejunkershe’sbeenfixingupsincehermothergaveittoherasagraduationgift.ThisisproofbyitselfthatPatiencewasn’tthewrongnameforher,nomatterhowmanytimesshegetsintoheatedteavscoffeebattleswithherchildhoodfriend,oneRoyMercado.It’sjustthatsheonlyhaspatienceforthingsworthhertime:friendship,cars,family,cars,thebeach,andalsoallofthosethingswhenin,on,oraroundcars.
1StrikeaPose
Sketch.Youcanalreadygetafeelforthepersonality;strong,solidpose,bothfeetplantedontheground.There’sabitofarelaxedslouch.
2FillItIn
Whenyoudefinethefeatures,thinkaboutvaryingyourbodytypes.She
Whenyoudefinethefeatures,thinkaboutvaryingyourbodytypes.Shehaswidehips,thickerlegs,andherwaistisn’tverynarrow—allofwhichgivesherastockierappearance.
3RoughInClothing
Thecoverallsarebaggy,butit’sstillimportanttodrawthelegsunderneathtomakesurethateventhoughthefabricbunchesupinplacesanddoesn’tgothroughthelegs.Onlooserclotheslikethese,thecrotchofthepantshangsprettylow,whichmakesherlegslookevenshorter.
4DetailandInk
Cleanupthelinesanddefinethedetails.Makesurealltheclothingis
Cleanupthelinesanddefinethedetails.Makesurealltheclothingisinteractingwitheachotherproperly.Hereyoucanseethewayhertanktophitstheridgeofhertoolbelt,andcoverallsgetcaughthangingontopoftools.
5Color
Whenyou’redoinggreasesmudges,don’tjustthrowthemonanywhere
Whenyou’redoinggreasesmudges,don’tjustthrowthemonanywhereunlessyouwantittolooklikeyourcharacterhasalotofaccidentsintheshop.
Demonstration:ChoosingAnglesOnceyouhaveafabulouscastofcharacterssometimesyou’regoingtowanttodoadynamicgroupscene.Thismeansputtinginalittleextracareandplanningsothatyourscenereadswelltothevieweranddoesn’thaveanyobviousinconsistencies.Whenyoupicktheangleofascene,youwanttothinkaboutthecompositionofyourpiece;notjustwhatyouaregoingtodraw,buthowyouwantittoread.ThistimeI’mlookingtodrawsevenfriendsanditshouldbecleartheyarehavingagoodtime.
1Sketch
First,doaquicksketchoftheroom.Thisdoesn’thavetobetoodetailed;it’sjustaguidesoyouknowwhatfurniture,doors,windowsetcaregoingtobevisiblefromwhateverangleyouchoosetodrawfrom.
2ExperimentWithanAngle
Withthisangle,thetableviewandstraight-onperspectivemakeitverysymmetricalandkindofformal.Theeyewillbedrawntothepersonattheheadofthetable,makingthemseemlikethefocalpoint.Youwanttomakeeveryoneseemasequallyimportantasyoucan,butwiththisangleit’shardtoevenshowalltheirfaces.
3TryaDifferentAngle
Thisanglewouldshoweveryoneequally,butyouwon’treallybeabletoseetheirexpressions,whichIwanttohighlight.Thiskindofanglewouldbemoreidealfordrawingattentiontowhateverisontopofthetable,likeplotrelevantbattleplans.
4RoughIntheChosenAngle
Thisangleistheoneyou’llwanttouse.Withjustalittlework,youcanseeeveryone’sface.Andsincethecharacter’sclosesttoviewerarealsofacingslightlyaway,itdoesn’tgivetheimpressiontheyaremoreimportantthantheothercharacters.Becauseit’sanasymmetricaltablefromthereader’spoint-of-view,thescenecomesoffasfunandcasual.
5AdjustPosesandPerspective
Afterchoosingtheangle,setupthestraightlinesoftheroomandmakesuretheperspectivelinesareproperlyaligned;thelinesoftherectangulartableshouldbeparalleltotherectangularroomit’sinthemiddleof.Startputtingmorethoughtintotheposes.Someareslouching,leaningforwardorleaningback.Thisletsyoushowmoreoftheirfacesandaddmorepersonalitytothepicture.
6RefineandAddDetails
Makeafewmoreadjustmentssoyoucanseeeveryone’sfaces.Startaddingtheirexpressionsandrefiningtheirposturemoretogiveabetterideaoftheirpersonalities.They’rereactingdifferentlytothecardgameandalsotooneanotherplayingthegame.Addmoredetailtotheclothes,anatomyandthebackground.
7CleanUp
Onceyou’resatisfiedwiththecomposition,cleanuptheroughsketchtogetitreadyforinksandcolors.
8Ink
Eventhoughsomecharactersareclosertotheviewer,they’renotnecessarilythemaincharactersoftheshot.Everyone’sexpressionsandclothesdistinguishthem,somakesuretogivethemdetaileventhoughthey’refurtherintheback.
9Color
Timeforsomecolors!Putintheflat,basiccolorsforthecharactersandthebackground.Nowyou’rereadytoplayaroundwithlightingoptions.
10SetAtmosphereWithLighting
Setthelightingsothatyouhaveabrightlylitscene.Thismakesthecolorsmoresaturated,andtheeventfeelsmorefunandcasual.
11AdjustLightingtoFinish
Inthisshottheoverheadlightmakestheroomseemsmaller,andthedarkgivesitasenseofintimacy.
Demonstration:HuggingWhilehopefullyyourcharactersreallyhavesomeonetheycangetafewhugsfrom,thesetipscanbeusedwithanykindofcharacterinteraction.Whencharactersareinteracting,youwanttomakesuretheirbodiesaretoscale;thatis,evenifoneistallerorwiderthantheother,relativetoeachother,theirproportionsneedtobecorrect.
1SketchtheShapes
Here,thebodiesareabitforeshortenedduetotheangle,it’smostobviousonthepersonwhoisfurthestaway,whichaddsdimensiontotheirinteraction.
2AdjustBodyContours
Muchlikesittingsquishesthethighsandflutesagainstthesittingsurface,thesamethinghappenswhennexttoanotherbody.
3AdjustProportions
Drawingthroughisstillimportant!Itwillhelpmakesureyoudon’tlosetrackofproportions.Here,sincethepersonclosesthasanarmupovertheother’sshoulder,liftingthemup,theirbacksideisabithigherthantheirpartner’s.
4CleanUpandInk
Linesonthebackoftheshirtmakeitclearthehandisreallyinteracting
Linesonthebackoftheshirtmakeitclearthehandisreallyinteractingwithit,wrinklingthefabricinthehug.
5Color
Inthisposeyoucanonlyseehalfaface.Youcouldshowallofitbychangingtheposeabit,butinthiscaseitbringsattentiontothedrawneyebrows.That,alongwiththeclosehugmakesitobviousthesetworeallycareabouteachother.
ExpressingAffectionObviouslytherearealotofwayspeoplecanshowtheiraffection,andallthosearenuancedlooksbothintotheindividualcharactersandtheirrelationship!Somepeopleexpresstheirfeelingsexuberantly,quietlyorcasually.Sometimesloversdon’tholdhandswhilebestfriendsdo.
Demonstration:SkatingDateLet’sdoanotherdetailedscene,thistimewithjusttwocharacterssowecanfocusabitmoreonshowingthemoff.
1RoughIntheSketch
Roughintheinitialsketchidea.It’sveryrough,butyoucantellfromthegestureofexpressionandbodylanguagethattheguyprobablycan’tskateallthatwell,andthegirlispullinghimalong.
2AdjustAngleandForeshorten
Youwantthecoupletobethemainfocus,sochangetheangleandforeshortenitsoitlooksliketheyareskatingtowardtheviewer,withabitofupwardcameraangletomakeitmoredynamic.
3RefinetheDetails
Fillinmoredetail,clothes,expressionsandthebackground.Thehorizonlineintersectsalltheskatersattheirknees,whichmakeseveryonelookliketheyareonthesameplaneandunitesthepiece.
4CleanUpandInk
Timetoink.Thelinesonthetwomaincharactersarethickerandmorepronounced,whichmakesthemstandoutmore.Thethinnerlinesofeverythinginthebackgroundprovidesasenseofdistance.
5Color
Justlikethethinandthicklinesprovidecontrastthatdrawstheeyetothemaincouple,sodothecolors.Thelightercolorsofthebackgroundmakethemoresaturatedcolorsofthecouplereallystandout!Thelightbluesofthebackgroundalsosaywinter.
Demonstration:FallDateWiththepreviousdatesample,Iwantedthecoupletobethefocus,butwiththisoneIwanttoshowthatthesettingandhowthecharactersinteractwithitcanplayabigpartinthepiece.
1RoughIntheSketch
FirstIsketchoutmyidea.Thegirliswalkingonadifferentlevel,soIdrawlinesfromtheboy’slegssoI’msuretheystilllineup.
2AdjustthePoses
Youdowanthimleadingthewayjustatinybit,sohehastotilthishead
Youdowanthimleadingthewayjustatinybit,sohehastotilthisheadbackandupabittokissherhand.
3FleshOutBodyStructure,SketchtheClothesandBackground
Fleshoutthebodystructures,sketchinginclothesandgettingabetterfeelforthebackground.
4InkandAddDetail
Youwantamorepaintedbackground,soonlyinkinthecharactersanda
Youwantamorepaintedbackground,soonlyinkinthecharactersandabitofdetailontheroadandonthewall.Thiswillhelpconnectthemtothebackgroundwhenyoustartpainting.Ifthecharactersonlyhadlines,itwouldmakethemseemflatagainstthebackground.Sketchouttherestofthebackgroundinbluetogiveyourselfalooseideaofwhatyouwanttodo.
5BeginBuildingColor
Colorthecharactersandlaydownabackgroundcolor.Ifyoudothis
Colorthecharactersandlaydownabackgroundcolor.Ifyoudothisinsteadofcoloringdirectlyonwhite,youcanworkthatcolorintoyourpaintingitself,withoutworryingaboutwhiteshowingthroughifyoumisssomething.
6ContinueLayeringColor
Doyourcolorsinlayers—adarkgreenforthebackground,thenbrighter
Doyourcolorsinlayers—adarkgreenforthebackground,thenbrighterfallcolorsontopofthatforthefoliage.Youcanseehowtheroadandthespacesbetweenthetreesstillhavesomeoftheoriginalbackgroundcolorvisible,anditworksmuchbetterthanwhitewould.
7AddfinalDetails
Addmoreleavestotheroadandshiftyourcolorpalette(viacomputer)to
Addmoreleavestotheroadandshiftyourcolorpalette(viacomputer)tobemoreyellowandorangesothatitgivesafeelingofawarmfallafternoon.Drawthegirl’shairandscarfflutteringinthebreeze.Addthelooseleavesflyinginthebreezeasthefinaltouch.Someareinfrontofthecharactersandsomeareblurry,likemovingobjectsinasnapshot.
Demonstration:ConfrontationNotallinteractionsareadorableandlovey-dovey!Here’salookatatenserscene;apparentlyTrevoroverheardthisguyinsultinghishat!
1RoughIntheSketch
Withaposelikethis,thecharacters’sizedifferenceisreallyobvious.Theshorteronelooksevensmallerbybeingforcedtotiltback.It’salsoobviousthatthebigguyhashismusclestensedup.Hisfaceisjuttingforwardwhichallowshimtoloomoverthesmallerguyevenmore.
2ChoosetheAngle
Pickananglesincethatclearlyshowstheirexpressions.Thisoneisabithumorous,thankstothelowerlipstickingout.Thecharacterscanbetakingthissceneveryseriouslywhilethereaderknowsit’snothingtostressabout.
3AdjustAngleandForeshorten
Makesomeadjustmentsfromtheoriginalsketch.Thesmallercharacter’shairisnowslickedback,andhe’swearingapoloshirt,sohelookspreppyThelinesnexttoTrevor’sleftfistmakeitclearhe’stryingsohardtoresisthittinghimthathe’sshaking.
4ShadeandShadow
ThehatprovidesanexcusetoshadeTrevor’sface,makinghimlookevenmoreupset.Butevenwiththat,theposeissuchaclassicrepresentationofaggressionit’shardtotakeittooseriously.
5AdjusttheAngle
Now,ifyouchangetheanglelikethis,itactuallylooksmoremenacing.
6ColorandAddFinalDetails
Focusisonthesmallerguy’sfaceandhowfreakedoutheis.Trevor’sfaceishidden,makinghimmoreimpersonal.Hisfistispulledtothaeforeground.Useforeshorteningtomakeitlookmuchlarger.Thisangleisalotmoredramatic!Theangleyouchoosetodrawascenefromreallymakesadifference.
makesadifference.
CHAPTER6
Vehicles
We’vetalkedalotaboutthebodytypesofcharactersandhowtheydress.Nowlet’sfocusonhowthosecharactersgetaround!Thischapterwillcovermanyexamplesofdifferentkindsof
vehiclesandhowtodrawcharactersinsideandaroundthem.
PersonalizedTransportFirst,personalization!Beyondbumperstickers,youcandecoratewindows,grills,antenna,andjustaboutanyotherpartofyourcharacter’svehicleyoulike.
Ad20VinylDecal
BikeBasket
BikeBell
ThunderGodAntennaBall
MustacheDecal
CarsLet’sfocusonthemotionofgettinginandoutofcars.Ifyou’redrawingacomic,transitionshotslikethisareoftenhelpfulsothatyoudon’tabruptlyhaveonesceneinsideacarandthenextonastreetblock.
DrawingCarDoorsDrawthroughthecardoor.Gettingintoalotofdetailisn’timportant,butyouwanttomakesurethebodybehindthedoorisstillinproportion.
PayAttentiontoDirectionPeopleusuallylooktowardwherethey’resittingwhentheygetinthecarandlookoutwhentheystepoutofacar.
SellaSenseofMotionThatlittledetailreallysellsthemotion,sothattheviewercanrecognizerightawayifsomeoneisgettinginoroutofacar,evenifthatpictureisseenentirelyoutofcontext.
VaryPosesCarsarebigandsolid,sotheyinvitealotofinteraction.Characterscanhang,sitandleanonthem.
ExerciseArtisticLicenseWhendrawingcharactersinsideacar(oranyothertightspace)youcanusesomeartisticlicensetoremovethingslikedoorsandwindowsthatmightbeinthewayofyourshot.
Demonstration:RidinginCarsIfyouaredrawingcharactersgettinginandoutofcars,chancesareyou’regoingtowanttodrawtheminsidecars,too.
1SketchtheScene
Choosethebestanglefortheinteraction.Thecarinteriorisprettysolidandunmoving,sosketchthatfirst.Thenplacethecharactersinside.
2MakeAdjustments
Thereissomeroomforadjustmentifyouwantto,sincecarseatscanleanbackabit,andcharactershavesomespacetomovearound.Justkeepinmindwhatyoucanplayaroundwithinyoursetting.
3DetailandInk
Detail!Eventhoughyouhavelaidouttheentireinterior,youonlyhavetobedetailedaboutwhateverisvisible.
4Color
Addcolorandmakeanyfinaladditionaldetailstofinish.
Demonstration:CarsinScenesFollowthestepstodrawacarinascene.
1SketchtheScene
Doallyourplanningintheroughsketch.Theheightsofthecharactersare5’10”and4’11”,butRoyiswearinglifts,solet’ssayhe’s5’2”forthisshot.Youwantthemleaningagainstasmartcar,soasktheinternetforitsdimensions.Youcanalsoeyeballitfromreallife,butremember,youwanttheheighttobeaspecificmarkerofhowtallyourcharactersare.
2RoughInDetails
Thecarissupposedtobe5’6”high,butuseartisticlicensetomakeita
Thecarissupposedtobe5’6”high,butuseartisticlicensetomakeitabitsmallerandemphasizethatit’satinyelectriccar.Atthispoint,youshouldhaveroughedinthecardetailsandrefinedthe
poses.
3DetailandInk
Timefordetails.Again,referencesareyourfriendhere.Butdon’tforgettoalsodetailthingsinthebackground,likemakingsurethatthecolumnandwalldon’tlookpristineandnew.
4Color
Nowaddcolors.Thewaytheshadowsareplacedaroundthecharactersandagainstthevehiclehelptoshowhowclosetheyaretoit.Thissolidifiesthattheyarereallyinteractingwiththevehicle.
OtherVehiclesTherearelotsofvehiclesoutthere!Ifyoucan’tfindonethatisperfectforyourcharacter,getalittleinventive;changecolors,designs,orcreatesomethinguniquetoyourstory.
ATVs
MotocrossBikes
BikesHere’sbikingatsomevariousangles.Youdon’thavetoalwaysdrawaparticularbikeifyoudon’twantto,butit’sbesttodrawvariousmodelsatvariousanglessoyougetfamiliarwithallthedifferentparts,otherwiseyourbikeisgoingtolookabitoff.
MotorcyclesTwodifferentstylesofmotorcyclesbeingriddenintwodifferentways.
ScootersScootersaren’tjustforkids!
WheelchairsWheelchairsalsocomeinalotofvarietiestogivetheirusersmoremobility,onesforracing,basketball,tennisandmore.
onesforracing,basketball,tennisandmore.
Demonstration:RidinganATV
1SketchthePose
Sketchthebasicpose.Again,usereferences,butatthisstage,generalshapesarefine.
2BuildItUp
There’salotofmovementtothis.YouwanttheATVtobeintheair,soyoucanalreadyseethefabricoftheclothesbeingaffected.
3AddDetailsandInk
Nowtothedetails.Themusclesinthearmarecontracting,holdingtighttothehandlebars.UsesmalldotsandlinestogivetheATVimperfections,makingitlooksalittledirtyandused.Thewheelsshouldhavedirtflyingoffthem,whichletsyouknowthey’respinning.
4Color
Addcolorandevenmoredetail,especiallyindicatingmoredirtonthevehicle.
5AddtheBackground
Thisisasunnydesert,sothesandisbrightandtheshadowoftheATVisreallyobvious.Thebackgroundaddsasenseofspaceandmovement.
Demonstration:RidingaBikeBikesareapopulartransportfortheyoungtryingtogetaroundonabudget.They’realsoabitlessintimidatingtodrawthancars.
1SketchthePose
Drawthebikefirst.Thendrawthefigureontopofit.Thebikeisasoliditem,buttheriderworksaroundit.
2AddDetails
Startaddingdetail.Finishoffthebodyoutlineandaddclothesbefore
Startaddingdetail.Finishoffthebodyoutlineandaddclothesbeforedoingdetailonthebike.Certainpartsofthebikearegoingtobecoveredup,sothere’snopointindetailingthoseareas.
3InkandAddMoreDetails
Useareferenceforthedetailsifyouneedto.Thingslikebikesthathavealotofpartsaregoingtolookdifferentdependingonthetypeofbikeandbrand,soit’sbesttojustuseareferenceheavilyifyouwanttobeaccurate.
4Color
Bikescomeinalotofcolorsandcanbepersonalizedtohaveaneven
Bikescomeinalotofcolorsandcanbepersonalizedtohaveanevenwidervariety.
Demonstration:RidingonHandlebarsRidingonhandlebarsprobablyisn’tthegreatestidea,buttheylooklikethey’rehavingfun.
1SketchthePose
Onceagain,startwiththebike.Sketchquickly,butenoughtosetyourangleandletyoudrawthepersonontopofit.Ifthereissomeoneonthehandlebars,he’sgoingtoneedmoreweightonthepedalsandwillhavetobeleaningovertoseeoverwhomeverisinfront.Sodrawhimstanding.
2AddtheSecondFigure
It’simportantthatthesecondfigurelookslikeshe’ssittingrealistically;
It’simportantthatthesecondfigurelookslikeshe’ssittingrealistically;thisisn’texactlycomfortable.Herlegsarestretchoutinfronttohelpherbalance,whichmeansshealsoleansbackabit.Makeanynecessaryadjustmentstothefirstfigure;hemightneedtoleanbackmoretoo.
3AddClothesandExpressions
Nowthatyouhavethepositionsworkedout,addclothesandfacialexpressions.
4Ink
Inkthefiguresfirst,sincetheyarecoveringupalotofthebike,thengobackanddodetailonthebike.
5Color
Addcolorsandfinaltouches.Don’tforgetthattheirclothesandhairneed
toreacttothewind.Sincetheyaren’twearingveryflutteryclothing,thismostlymeansthingslikeabitofhairandthedrawstringsofhercapris.
Demonstration:TailgatingSceneHere’sanothercomplicatedgroupshot,thistimeatatailgatingparty.You’llwanttotakeyourtimesketchingeverythingoutjusthowyouwantitbeforeyouinkanything.
1SketchtheScene
Firstsetthescenewithsimpleone-pointperspective.Thismeansallthelinesaredisappearingintothesamepointonthehorizonline.Setupthevehiclesfirst,sincetheywillbeinlinearorderintheparkinglot.Youwantthesidesofthevehiclestomatchupwiththeguidelinesprovided.Thisensurestheyforeshortencorrectlyandkeepsthemniceandangular.
2BuildItUp
Addadditionalguidelinestosetuptheangletocurveslightlyontheoutside,almostgivingusafish-eyeview.Startsketchinginthefigures,spreadingthemacrossthespace.
3CleanUpandAddExpressions
Nowthateverythingislaidout,getridoftheguidelinesandbeginfixinganatomyandaddingsomeroughexpressions.
4DetailandInk
Continueaddinginlittledetailstomakeanenthusiasticcrowd—foamfingers,drinks,plates,pompoms,coolers—alltheseitemshelpcompletethescene.
5Color
Addcolor—it’saperfectsunnydayforapre-gametailgateparty!
AbouttheAuthors
IreneFloresisanillustrator,part-timeframer,occasionalauthorandfull-timecoffeedrinker.Herbooks,ShojoFashionMangaArtSchoolandShojoFashionMangaArtSchool,Year2werepublishedbyIMPACTBooksin2009and2012.Sheistheco-creatorofthemangatrilogyMarkoftheSuccubuswithwriterAshlyRaitipublishedbyTOKYOPOP.ShehasalsoworkedforDC/WildStorm,MarvelComics,andBOOM!Studios.GrowingupinthePhilippines,Irenewasheavilyinfluencedby
bothJapaneseanimationandAmericancomics.In1994,sheandherfamilymovedtotheUnitedStates.ShecurrentlyworksandresidesinSanLuisObispo,California.Hertumblrartblogcanbefoundunderherusername,beanclam.Visitherwebsiteatbeanclamchowder.com.
KrisanneMcSpaddenwasborninPhoenix,Arizona,andafteralifelongdreamofescapingnowlivesinSeattle,Washington,surroundedbynumerousfriendsandanalmostmorallyirresponsibleamountofdeliciousfood.Herpassionsarewriting,worlddesign,characters,andstory,andhernextgoalistotackleauthoringherownmanga.ThisisKrisanne’sthirdbook.Sheco-authoredthefirsttwobooksintheShojoFashionMangaArtSchoolseries.ContactKrisanneatmcspadden.k@gmail.com.
Dedication
Irene:I’dliketodedicatethisbooktotheamazingartteachersI’vehadinmylife,andtomyfamilyandfriendsforsupportingmeandneverforcingmeto“getarealjob.”
Krisanne:TomySeattlites,withoutwhomImightnothavestarved,butatleastwouldhaveenjoyedfarlessdeliciousfood,friendshipandhappinesswhiletryingtostakemyclaiminNorth-Westernlands.
ShojoFashionMangaArtSchool,Boys.Copyright©2014byIreneFloresandKrisanneMcSpadden.Allrightsreserved.NopartofthiseBookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyIMPACTBooks,animprintofF+W,AContentandeCommerceCompany,10151CarverRoad,Suite200,BlueAsh,OH45242.(800)289-0963.FirstEdition.
OtherfineIMPACTproductsareavailablefromyourlocalbookstore,artsupplystoreoronlinesupplier.Visitourwebsiteatfwcommunity.com.
eISBN:978-1-4403-3476-4
Thise-bookedition:October2014(v.1.0)