Internet Archive: Favorites

23890

Her body is drawn With smooth lines showing her lermrune contours Her Iraills ankle-length hair Co-ordinate the shces With the dress. She jumped on her Wacom stylus and rode off into the night, leaving pixels in her wake. You don't have to slart with curves when you are drawing something. The distance between these two lines decides the size 01 the eyes. Tile jacket Is close lining 10 emphasize her Slenderness.

Artist Program - Nickelodeon Animation

seoauditing.ru to draw Manga Female character "Dynamic, Perspective, Give life" Illustrated book Mediafire: PDF Download 54MB I basically picked the best books which involved manga drawing, pushing out the outdated ones and the ones with low VK: Sketching Manga-Style Vol. 5: Sketching Props. Sketching Manga-Style Vol. 5 - Sketching seoauditing.ru Chinese_Calligraphy_seoauditing.ru Onnanoko Database -gakuen seoauditing.ru Onnanoko. Sketching Manga-Style Vol. 3 - Unforgettable Ch.. * Sketching Manga-Style Vol. 4 - All About Perspe.. * Sketching Manga-Style Vol. 5 - Sketching seoauditing.ru Shojo Fasion Manga Art School - Free download as PDF File .pdf) or read online for free. Shojo Glasses and Other Fun Accessories 5| Cool Looks, Step by Step 98 6 ninety-degree angles, which are handy for raking comic book panels. FLESH OUT THE FIGURE ing the skeleton a prop REFINE THE. How to Draw Anime and Game Characters Vol 1 - Free ebook download as PDF File .pdf), Text File "I want to have a go at drawing ani me and game characters. Practice Drawinq Feet. '(style.) Loneliness Is expressed in the distance between Ihe eyes. A ZiP 10 adjust the Jackel sleeves 5 Sketching Props.

Sketching manga-style vol 5 sketching props zip. Amina Elnayef.

Sketching Manga-Style Vol. 1 - Sketching to 5 - Sketching Props. pdfOil_seoauditing.ru- ARTBOOK AKIRA T14 - CONSECRATION OTOMO KATSUH.​.- pailb. How to Draw Manga Vol. 33 Costume Encyclopedia Vol.1 Everyday Fashion. prev. next. of Sketching Manga Style Vol 5 Sketching Props · Documents. 50 Manga Babes to Draw and seoauditing.ru Digital Art Masters Volpdf. Digital Art Masters Drawing Manga - Learn the Art of Manga Step by Step (How to Draw and Paint).pdf 5 - Sketching seoauditing.ru (マンガ家と作る)萌えパーツデッサン集(​手).zip (マンガ家と作るBLポーズ集)キスシーンデッサン集.zip. A prop for my World Developments class with Nate Bowden at LCAD. New drawing anime clothes character design ideas Art Drawings Sketches Simple, 1 hour Premium Gacha Ticket, 5 MAX Charge Drink, 15 Charge Drink, ZBrush Digital Sculpting: Human Anatomy book by Scott Spencer Chapter Sample Dow. See more ideas about art, art reference, drawings. adjustable leather straps with silver buckles, and an inside brass zip closure. Leather upper, leather lining, leather sole Made in Mexico 2 ½” Heel Height 5” Shaft How to Sketch Anime Clothes Step by Step Anime People Anime Draw Japanese Anime Draw Manga.

seoauditing.ru [PDF|TXT]

Dislike: 5. Favorite: 0. Comment: Download - Pack How to Draw Manga Vol.1 (PDF) Conteúdo do Arquivo de Download: How to Draw Manga Sketching (​Manga-Style) - Completo PDF How to Draw Manga Comment: 0. How to Draw Manga: Sketching Manga-Style: Volume 5 Sketching Props. a portrait of,This listing is for a full color, manga style drawing in traditional, Please see the art samples above, Included in the cost is the 8,5 x 11 original.Sketching manga-style vol 5 sketching props zip The Complete Book of Drawing Manga (Paperback) 5. $$ One Piece (Omnibus Edition), Vol. 1: Includes vols. 1, 2 & 3. 3 with the classroom-​style benefit of video tutorials, The Complete Guide to Drawing Manga is Character development through costume, props, setting, and details; Methods for rendering. seoauditing.ru >Artbooks: seoauditing.ru​17axpf4d7k05u/artbooks#myfiles >Sketching Manga Style, Vol V: Sketching Props (PDF, MB) Dress and Fashion ISBN We Finally Figured Out Who Makes wikiHow's Bizarre Art your average wiki: the site's infamous, pallid, anime-adjacent illustrations. for wikiHow publicly relative to the site's humongous volume of illustration work. When the art is complete, he said, you simply email the art in seoauditing.ru file, and Read more · 5 min read. 5 урок: seoauditing.ru?w=wall_ See more seoauditing.ru MB "How To Draw Manga - Sketching Manga Style (​Vol ). Cosplay Costume Planner: Performance Art Character Play Portmanteau Fashion Props. Costume - Sketch pad to draw out ideas, thoughts, items and price of putting together the costume. Additional Notes Title: BERNADETTE Fashion Coloring Book Vol. 6: Avant 5% Back on All B&N Purchases.

Sketching manga-style vol 5 sketching props zip.

WE ARE THE ARTISTS However, Anh secretly stuck with art as her primary interest because she was never good at traditional school. Back then, Anh wanted to become a comic book​. This case is a conceptual version of "Big Field style digital manga art", and the The 08th volume of individual management is the final completion of this series. (Describe the zip file) Person in charge C: ・ Props, decorations (props, possessions, vanishing things) ・ Lighting + art Jul 4, 5.

Book 14 of Tokyo Ghoul: re ANBP 3D Tokyo Ghoul Tapestry Anime Tapestries Wall Art Aesthetic Home Decorations for Living Room. HDM Vol. 11 Maids & Miko Favorited: days ago. Sketching Manga Style Vol. 5 Sketching Props 年代CM集 (その12) 年5月/80s Japanese commercials #12 (JOCI-TV Disney Sing Along Songs Zip-A-Dee-Doo-Dah (​ Print).   Sketching manga-style vol 5 sketching props zip strengthen the community. The Art Center offers access to exhibitions in the gallery, in Wolf's PM - PM RAD STILL-LIFE DRAWING. Ages AM - PM ANIME / MANGA DRAWING Ages PM - PM During the class we will explore comic book basics such as reading. 5 Pdf. Owned by the Alien Ogre: Rough, Sci-Fi, Alien Erotica: Dominant, Alien Alpha Males, del pagamento Risparmia 5% con coupon Disponibilità: solo 5 La clinica dellamore Vol. 5 The most important thing about art is to work. does take this ebook, i give downloads as a pdf, kindledx, word, txt, ppt, rar and zip. Pc88n80romダウンロード Volume 5 – Issue 1 – Spring 5. Associate Editor: Vasileios Paliktzoglou. University of the global dissemination of Japanese manga Shakespeare and the representation of gender and. sexuality in He holds a PhD in Art History from the University of Regensburg When my props are harder to operate than a light. Amy Fellner Dominy, AG Ford BB • /8” x 7” • 32 Disney Book Group, Disney Storybook Art Team BB • 7” x /2” • 24 An original manga set within the world of one of the bestselling video game Sole Prop. Bank Reference Name: Address: City: State: Zip Code.

Sketching manga-style vol 5 sketching props zip

architecture,5 I have developed thoughts and theories through experimental design, making and Transactions of the Newcomen Society. vol 31 (), pp. such as the Cranbrook Academy of Art, Cooper Union, Bartlett School of Architecture prototypes, props, models or installations (, ). zip (fig a). 【Sketching Manga-Style [Vol ] (ENG) MB】 /Sketching Manga-Style Vol​. 5 Sketching seoauditing.ru MB List of books present in this torrent: 1. DS Store KB videohive touch seoauditing.ru MB videohive.  Sketching manga-style vol 5 sketching props zip a.m.– p.m.. The Glassell Junior School is an art school for young people, devoted to Costumes and props will be made for dress-up play and maybe even to Art Tales. J Monday. – p.m.. Nevarez. $ J Saturday Each week, a different picture book inspires a creative activity. Manga Style!

Shojo Fasion Manga Art School

  Sketching manga-style vol 5 sketching props zip  

Sketching manga-style vol 5 sketching props zip. seoauditing.ru - Free Download PDF Ebook

  Sketching manga-style vol 5 sketching props zip  うるま市 ソフトウェア 会社

Sketching manga-style vol 5 sketching props zip

Heaven Gaia spring ready to wear. You can. VK is the largest European social network with more than million active users.

Our goal is to keep old friends, ex-classmates, neighbors and colleagues in touch. Find a Name for your Baby! For your reel, focus on quality rather than quantity. Each discipline is different and you should assemble your reel accordingly to show your skill within that discipline. Be sure to showcase your best work. Reels should be minutes in length. As a part of the review process, all applicants must submit a work resume and an autobiographical summary.

Applications that do not include both of these items will not be considered. Your resume should include your key contact information. It is helpful to include your blog or website if they demonstrate your work as well.

Include your work history, including movies, titles or projects you worked on. Also, include software applications, scripting language you are familiar with, and your educational focus. Hobbies and references are helpful also. The notification dates are as follows: Semi-finalists will be notified by the end of September, Finalists will be notified by the end of October, Chosen Artists will be notified by the end of November. Upon receipt of your submission materials through FluidReview, your work will be reviewed shortly thereafter.

If chosen as a semi-finalist, you will first be called for a phone interview and potentially, a second in-person interview. If chosen as a finalist, you will be called for a panel review. Due to the high volume of submissions to our Program, we are unable to provide you with such feedback. The number of artists selected for the Program varies from year to year based on the needs of the Studio. Yes, artists who are accepted will need to relocate to the LA area.

For participants coming from out-of-town, air-fare and one month's accommodations are provided however all transportation once in LA and any moving costs are the individual artist's responsibility.

Coming from a geographically small place, Samuel sensed that the world was enormous; therefore he became a very curious person. With a lot of hard work and sacrifices, they encouraged Samuel to try out a variety of things in school including learning English, playing soccer, going camping, competing on the marching team, playing the clarinet, joining the swim team, and even training as a juggling performer.

When he reached university he maintained his curiosity of the world and explored many different career options before finding his true calling. He started at University of Puerto Rico on a choir scholarship, but he majored in Engineering with the intent of building a real-life Iron Man. He changed his major to English literature, then studied French in Quebec, Canada.

He went on to study Cinematography and flirted with Graphic Design. These many experiences guided him to find his true passion for animation. This introduction opened his eyes to the possibilities and gave him clear perspective on what he could one day become. After graduating from university, he joined local animation studio, Gladius Studios, along with 13 of his college friends. For the next 2 years, he honed his CG skills working on commercials and even some animation series as a Visual Effects Artist, all while developing a specialization in lighting and compositing.

Samuel is very excited about his achievement of getting into Nickelodeon and exploring animation outside of Puerto Rico. He is eager to get involved in big projects and continue his journey around the animation world.

Jasmine Reyes was born and raised in the Bay Area suburbs to a loving and loud Filipino family. Since they were a child, Jasmine had always seen storytelling as a way to connect and understand the world around them. And from that point on, they had always loved storytelling. And once the wonders of cable were introduced into their life, Jasmine was hooked. Through cartoons and animation, they had found the stories that they had always craved for. Jasmine saw themselves in Miyazaki films, wished for Fairly OddParents, and dreamt of becoming a Sailor Scout and fighting evil by moonlight.

This began their journey into art. It naturally occurred with copying everything they saw on TV, and as a child, that meant drawing everywhere and on everything—which included the walls of their rental apartment. Their love for drawing and cartoons grew tenfold throughout the years.

They were inspired by the creators of these amazing shows and movies, and after some research, they began to realize that animation was a possible career path. However, no one in their immigrant family had pursued entertainment arts before. After too many nights of research, a handful of existential crises, and lots of convincing to their parents, they took the blind leap of faith into the world of animation and never looked back.

Jasmine graduated from high school and built up their skills at community college. With a new sense of determination and newly packed bags, Jasmine made their way along the coast to attend Art Center College of Design in Pasadena. While at Art Center, they simultaneously sat in all the storyboarding classes they could find, took classes at Brainstorm, and attended storyboarding courses online.

Once their time at Art Center came to an end, they found themselves suddenly thrust into navigating the big, daunting world of professional freelance animation. In the midst of freelancing, Jasmine decided to apply for the coveted Nick Artist Program.

With a few weeks filled with too many cups of matcha lattes, they created a new storyboard, put together all their favorite comics and illustrations, and pressed the submit button.

To their surprise and a string of several phone calls and interviews later, the last phone call finally rang—they made it! Jasmine is forever thankful for their parents, sisters, family, friends, mentors, and pets that continue to support them along their path.

Carl Edward Mongan was an obsessive child with a flair for the dramatic and a knack for the bizarre. Sports were not his strongest suit, and not from a lack of trying. This suited Carl Edward just fine. He preferred to draw. In elementary school, Carl Edward filled wide-ruled notebooks with Star Wars fan fiction rather than doing the morning journal entry questions that the teacher put up on the board.

He went to Halloween Horror Nights in the fourth grade without ever having seen a scary movie before. Carl Edward went back to his Catholic school with drawings of the slashers he had acquainted himself with the weekend prior. His rendering must have been decent because Carl Edward was banned from drawing at school. So, naturally, he decided to keep it up. Drawing was a through-line during his schooling experience. Carl Edward drew on every piece of paper that came his way, much to the frustration of teachers who were just trying to teach him basic math.

It was so much faster to illustrate what he wanted to say rather than speak his thoughts out loud. Then throughout middle school and high school, Carl Edward invested his creativity in theatre and improv performing, basking in live reactions.

Laughs were preferred. Yes, he had taken many art classes and participated in art contests, but at his academically driven school, art was not taken seriously as a path for higher education. His interest in art was obvious, but how to proceed was unclear. A clear connection between all his interests was forged. With a month left until submission deadlines, Carl Edward pivoted from an anticipated English degree and pursued animation at California College of the Arts in Oakland, CA.

It was the part of the pipeline that resonated most with his previous experiences — a playground in which he could inhabit every character, build limitless worlds, and simply draw a story!

Carl Edward graduated with high distinction and was honored to be the commencement speaker for the class of During his last year at college and into the summer after graduating, Carl Edward joined a Berkeley non-profit called Afi Health, where the team created short pediatric videos to inform children of their various medical conditions.

He worked a few random jobs — the wildest as a receptionist for an understaffed dog hotel where a husky named Loki opened gates and doors for his oversized friends. Now, Carl Edward is an obsessive young adult still with a flair for the dramatic and a knack for the bizarre. He is grateful for family and friends who supported him and for those who discouraged him. Carl Edward will continue his journey as a storyboard artist in the Nickelodeon Artist Program. Anh Bui was born and raised in Haiphong, a small city by the ocean in Vietnam.

She grew up spending her days outside playing soccer, catching dragonflies at the paddy field, exploring abandoned houses, building forts out of mattresses with her sister and cousins, and other neighborhood kids. Growing up poor, there wasn't much imported entertainment provided, so she entertained herself with activities that sparked her interests and curiosity in her everyday surroundings. As an introverted and shy kid, when Anh saw her sister and cousin drawing, she realized it was a form of communication for her to express herself, so she started drawing and making her own comic books.

However, Anh secretly stuck with art as her primary interest because she was never good at traditional school. Back then, Anh wanted to become a comic book artist because it was all she knew, but then after watching Big Hero 6 in , it completely blew her mind as she realized it was a comic book coming to life! She admired how much effort, hard work, time, and dedication that thousands of people had put into a film. She imagined herself being a part of that animation scene, a part of something bigger than herself.

In search of a career path, she researched the career of a storyboard artist that she admired, she even emailed them to find out where they went to school and, surprisingly, got a reply back! After the first year, she had an unexpected opportunity to move to LA, to be closer to the animation community. Anh decided to take a risk and she packed all her stuff in one small suitcase and left college along with her friend.

She continued her online training on Schoolism, and spent her free time exploring LA, meeting cool people, and falling in love with motorcycles after she met a group of bikers at a local bookstore. By the end of the year, good news came: She got accepted into the Nick Artist Program. Far away from the Los Angeles landscape, in a small South Jersey town resided an offbeat child named Dominique, plagued with an overactive imagination and gifted with little adult supervision.

Rather than obsessing over paints, pencils, and paper, she obsessed over two bright, electric boxes: the computer and the television. From playing as superpowered heroes in video games to watching cartoons about the lives of non-human protagonists, the more speculative the fiction, the more she was enraptured.

As she grew older, Dominique subliminally absorbed not only a taste for science fiction and fantasy, but an understanding of the status quo present in even the most innocuous content.

After investing so many years on the internet, she found a platform that bolstered her creative writing hobby further: fanfiction. Writing for pre-existing worlds progressed into writing and drawing her own characters and by high school years, she had a realization. This burgeoning urge to draft her own works merging with a dissatisfaction with the limited scope of stories reflecting people like her encouraged Dominique to diversify media through her own writing and illustrations.

Majoring in illustration introduced Dominique to the field of visual development, yet she could feel the distance from her goals in both her physical location and the non-specific curriculum structure.

In hopes she would narrow the focus of her college experience, she added a concept art class to her schedule, invested a merit-based grant into an internship at Moondog Animation Studios, and tailored her senior thesis around development art. Despite all these efforts, upon graduation she still found herself a bit, well, career-challenged, and for the next several months Dominique chased after sporadic illustration opportunities with the anxiety of impending loan payments looming over her.

With financial hardships exacerbating an already stressful living situation, Dominique applied to the Americorps program City Year at the recommendation of a friend, and her service year in Philadelphia was the first of many turning points. After a year of balancing high school classroom support during the day and freelance comic artist at night, she still found herself without an entry way into animation.

She made a decision to return to City Year, with one major change - she would transfer to the Los Angeles site. Living within the backyard of premiere animation studios had never been so within reach, so she took all those saved City Year stipends and migrated to the opposite side of the country. As she transitioned from New Jersey to Los Angeles, Dominique conceptualized a plan: she would submit an application to the Nick Artist Program as a trial run, receive a rejection, and in the aftermath build a solid portfolio that would guarantee acceptance in the following year.

In hindsight, this plan makes her laugh, incredulously at that. During the process of her application, that initial plan would constantly be tested and challenged, and ultimately it failed. One application submitted while sitting on a barely furnished apartment room floor lead to several phone and virtual calls, various bouts of crying, an existential crisis, and lastly a triumphant acceptance to join the upcoming the Nick Artist Program Design track. As far away from the Los Angeles landscape as she was, Dominique persisted with this ambition to break into animation, to illustrate for a living, and to simply, wholeheartedly create - not just for herself, but for the many kids escaping into the stories broadcasted on their computers and televisions, just as she did.

Evon's first words, at least from what her parents tell her, were "junk food", her favorite thing to do was not listening to instructions, and she was really good at taking things apart, and not being able to put them back together.

Thankfully she at least learned to speak a few more words since then. She was brought up in a multiracial family, with a Taiwanese mom and Caucasian dad. They were raising her to be a scientist or doctor or one of those jobs that makes a lot of money and parents always want you to be. Unfortunately it was soon clear that she had no desire to be a doctor and her abysmal math skills knocked out scientist. As a child her mom would often take her back to Taiwan with her, if you've never been, it's really hot and humid there in the summer and no one wants to go outside.

So to occupy her time she bought some how-to-draw books from the corner bookstore and started doodling. This was the beginning; and it was all thanks to boredom. So thank you boredom! In high school she took as many art classes that she could fit into her schedule, pottery, photography, art, and computer graphics.

Graduating during the dotcom boom made her decide to go to college for Graphic Design, however, she soon realized that she much preferred the art side of the job.

After landing a job at Electronic Arts for character design, she decided to go back to school so that she could continue her career in art and design. She then applied for the graduate program at the Academy of Art and got into the visual development program at the school. The program was one of the most enriching places she had been and her advisor Sherrie made sure that she got the most out of it. After the spring show at the school and attending CTN she applied for the fellowship program at Nickelodeon and after a day of crazy interviewing and yummy sandwiches she was moving down to Burbank.

Chase grew up in Pekin Illinois with a full head of creativity and hair. During his childhood he found a love for art through drawing football players and Spiderman while at home and drawing the war scenes from the movie 'Ants' on the back of homework sheets while at school.

He spent most of those days going to school then coming home to draw for the rest of the day. In High school his attention began to shift from tradition drawing into digital. Taking up Photoshop, he felt as if a new world had opened up and for the first time he was introduced to digital artist via the Internet. It was also during this time he became increasingly shallow and vowed that all other forms of art aside from video game art was rubbish.

After High school Chase enrolled into Illinois Central College where he became more open to others styles and regained his previous love of the old animation shows and movies he used to watch when he was younger. Looking closely at the designs of the characters and backgrounds inspired him to take up the whimsical designs that animation offered. After spending a year and a half of community college He decided it was time to go to art school.

After looking at the rates of the schools he soon realized it was extremely unrealistic to be able to attend. So he began to look for alternatives, luckily he was able to find The Concept Design Academy in Pasadena California, where after 2 semesters he found out about the Nickelodeon Artist Fellowship. When he applied to the Nickelodeon Artist Fellowship, his semester at school had ended and he was not sure if the fellowship would fall through so he bought a plane ticket home, which fortunately turned out to be a bad idea.

Chase now plans on taking this opportunity to show his dedication to art and hopes on being able to take advantage of the fantastic opportunity nickelodeon has to offered. Keiko grew up in Japan, watching anime, reading manga, and drawing characters. In junior high and high school, she started going to conventions and being a member of a comic drawing club. Her father hated that his daughter was being such nerd. Her mom, on the other hand, didn't care. She majored in Art, but she was still searching for what exactly she wanted to do.

Then one day, she was watching TV mindlessly, and on came this show, Samurai Jack. It was love at a first sight, one way love perhaps.

The show was so graphic, cinematic, with beautiful BG and shape-oriented characters. She never seen anything like that back home; it was the biggest and the best culture shock ever.

Next day, she was at the computer room looking up the art school in California, the center of all the entertainment. She studied at Art Center College of Design. After graduating she worked as a graphic designer, a vis dev artist for Motion graphics, and a colorist in publishing. But during all these jobs, she still worked hard to get into my dream career in animation, and she have applied to Nickelodean many, many times over the past few years.

This year, her friend from school told me about the Nick Fellowship program, and of course she had to try. To be honest, she was very very surprised to be picked as a finalist.

When Karen called her, she was so happy and shocked, repeating "Omg, really?? This process was quite official, but all the review boards were nice, and Karen and Amber were there to help all finalists do a good job. All she did was to be honest about where she came from and express her passion for art. She must have been a super awkward goofball in their eyes Now, she is determined to work hard and learn hard, for herself and for everyone who chose her to be the part of this awesome program.

Despite having been born in New Jersey, Samantha for reasons obvious to anyone who has ever lived in New Jersey considers herself an Angelino at heart. Also, she looks bizarrely good in funny fur trapper hats. Samantha grew up in a family of artists surrounded by art; and, perhaps because of a prolonged exposure to paint fumes, has always known she was destined for a career in animation.

Jumping head first into her quest to become a professional artist, Samantha, at the tender age of thirteen and much to her parent's chagrin, enrolled herself in nude life-drawing classes at the local art college.

After getting over the initial shock that the models were, indeed, naked — like, really, naked — Samantha decided that this this was the school that would help her achieve her animation dreams. Not because of all the naked people, but because of the awesome art teachers. It would be the place where Samantha would spend the next eight years of her artistic life, from Saturday High classes to eventually enrolling as an undergraduate student in the Illustration major.

Art Center taught Samantha the important skills she would need to be professional in the animation industry: how to function on two hours of sleep a night, how to safely wash oil paint out of your cat's fur, how to survive on a diet comprised entirely of microwavable ramen Since graduating with honors in the Spring of , Samantha has been a part of a number of exciting projects in the entertainment industry, including an award winning documentary, a children's book for the iPad, and a feature animated film.

In all of her professional experiences, Samantha strives to learn new skills, make new friends, seek out the next great adventure So, when Samantha heard about the Nick Artist Program, it sounded like the perfect next great adventure. Samantha sent off her portfolio, crossed her fingers, held her breath, realized holding her breath for three weeks was unrealistic, learned to paint with crossed fingers, and eventually giggled uncontrollably and embarrassingly when she was accepted into the program.

Samantha plans to make her mark on Nickelodeon, hopefully not by accidentally drawing on the walls, but by offering her own unique contributions to the Nick team! Darrell was born and raised in Sacramento, California. He dreamed of playing professional sports until his Uncle Leroy and high school football coach, Shawn Sullivan, suggested that he should not neglect his love of ability to draw cartoons.

To become great at art, or sports, you have to consistently practice, dedicate yourself to learning the proper techniques, and love the process. Being selected for the Nickelodeon Artist Program has provided an opportunity for him to fulfill a personal dream.

Darrell is easily inspired by music, life, and movies. When Lane was young he had no idea that he wanted to work in animation or even as an artist. He knew he loved watching shows like Samurai Jack, Rugrats, X-Men, and anime and that he enjoyed emulating all of the wacky things within them. He also knew that he enjoyesd doodling, but at the time it was just another fun thing he could do along with sports, school, music, and adventuring. A general interest in all things continued through middle school and high school along with his love of cartoons and drawing; which went so far as to earn him an award for Best Illustrated Comic in a High School Paper.

As graduation approached, however, the career Lane imagined was not one of art but of marine biology. He visited Scripps Institution of Oceanography in preparation for his future as a champion of the sea… and then promptly accepted an academic scholarship to the University of Arizona where he enrolled as a mechanical engineering student. Sketch 1 - Pin-up in Paint Tool Sai. Pin-up in Paint Tool Sai. Sketch 1. Characters Dec 19, at pm. Oleg Yurkov.

Character Design Feb 10, at pm. Art Cafe Feb 17, at pm. Characters Mar 11, at pm. Which 01 the six types shown below appeals 10 you the most? You may have tried to imilate the slyle 01 your favorite manga anlst or ammatOi buIll jus1 doesn'l look Ihe same. So far, the characters you have skelched differ in hody proporlions and design to the characters you like.

We don't have 10 analyze the body proportion of characters in great detail. Comical Animation Characler Large head, hands and feet. Not much defimtion of [oints and muscles. Limbs look small compared With the head. Bishoujo Young,pretty girl A thin waist and slight definition 01 body contours. Joints and muscles are defined. SD Character A small body With a large head. Not particularly comical or cute, 4. Shoujo Manga Gal's Comics character Overall very thin with long legs.

For girls. Boys are drawn almost the same but with broader shoulders. RealType The length of the body torso and legs are roughly the same. Girls do not have exaggerated narrow waists.

Depending on wIlelher it is manga or an illustration, for example the same character will have very diNerent features. Compare the di1ferEint drawings 01 the same character below, especiaJly looking at the ways the eyes and hands have been drawn Do you notice how some features have been drawn in detail while others have been ami lied. You can easily set!

Whal can be done about it? The answer is think IDolyg. You don't have to be able to draw it. What's more important is that you acquire a tet! Bullheleeling is important. Think back 10 the square boxes In Chapter 1. They are the Simplest polygons. Next, we will take a look at how characters' bodies can be made up 01 polygons.

The completed drawing: The prof,essional'swork You can" put your finger on It but something is wrong with this drawing. This is the lirs! The lips this. So It looks as if they are just stuck on. The eyes are not the same height. The cross-lines on the face are at completely different angles. The lines for the height of the eyes should be parallel. The cross-lines on the face should cross the midline at right angles. When you can draw laces as cubes without having to lhink about it, you know that you have improved a great deal.

Drawing the features. Real Type Character 1. Fi rst of all, the honzontal cross-line decides the height of the eyes Exaggerated Type Character 2. Next, the midline IS drawn vertically an the full face. This line marks the bridge of the nose. The distance between these two lines decides the size 01 the eyes. The knack when drawing the character below Is to draw these lines wide apart so that the eyes are big 4.

The position for the nostrils is marked on the line for the bridge of the nose. The eyes are drawn on this line and their size roughly estimated.

The general rule is thai the lower the position 01 tile eyes, the mare childish the face See the drawing below. Above the line thaI decides the height of the eyes draw another line to decide the size of the ears. The height of the ears is about where the frame of a pair of glasses would sit. Normally the posltion for the corner of the eyes IS about where the root 01 the ear is.

The outline between the eyebrow line and the eye line hollows out. This makes the depressions for the eyes. Mistakes are often made at thts point. Even those people who are fairly good at draWing end up drawing tile base of the nose from the eye line, Have a look at the bridge of your nose In the mirror See how it starts between the eyebrows, depresses in between the eyes.

Make sure Ihls ,wldlh Is right " r, , 7. The width of the lips is marked on the horlzontal Ine for the mouth. Take exira care with the eyebrows because it IS easy to draw them uneven. The same With the lips. If they were uneven, even a smile would look contorted. The ohm is tapered. The Real Type Character has a broad chin and the Exaggerated Type, a chin concentrated at the center of the face. Be aware of the jawbone in the Real Type Character.

Below we have tile basic sel ot head positions lor the characters featured in this book. Once you can draw these, you can probably create your own work Basic 2 Profile ; Level DI difficulty 1 The knack is to distance the base of the nose and eyeballs further apart than you would firsllhink.

Take into consideration the height of Ihe nose between the eyes The bottom I protrudes less than the top. Ba,slc 1 FrDntal : Level of difficulty 1 Asymmetry is most obvious in this position.

The width to the left and right of the vertical midline must be the same. Oblique from behind: Level of difficulty 3 Don't forget the thickness of the ears. Make sure the horizontal eye-line remains level. Oblique left: Level of difficulty 2 Even thOllgh this is one that people can draw, It is also easy 10 get Ihe perspective out, Pay attention to the sea olthe eyes. The position of the nostrils IS higher than you would first think.

From above:. Level of difficulty 5 Tile positions for Ihe lop of the nose and the mouth are almost exactly the same. The angle of the eyebrows changes the down-looking position of Ihe head. Refer to Ihis position for each character in the pages to follow Oblique left and right From slightly above: Levelu' d.

People t'end 10 draw Ihe ears and the nose too close together. This angle must be practiced because It is commonly used. Take care where you draw the hairline because it differs depending on the character. Oblique right: Level of difficulty 4 This angle often appears In Interview tests at animation studio companies.

How the parts on the other side of the nose-line the cheeks, eyes, eyelids and eyebrows are drawn Is very important. II is a good indication of your drawing ability. Pay attention to the distance between the eyes and ears. Make the chin and forehead parallel.

Do the same with the eyebrows and eyes. From Slightly above: Level of difficulty 2 This is at an angle so it Is not exactly a lull view from above. Nevertheless the nose and mouth are drawn close to each other Right-handers generally tend to have difficulty in drawing this position properly. Introduction to Different Tvpes of Characters Which type o' characlers do you want to draw?

The next page. Her traits are the exaggerated hairstyle and eyes. Once you have mastered lhese two characteristics, you SllDuld have no probtem drawing this type of character Take care with her gtossy hair, hlghtighted lips and flQuid eyes. The Irlnge Is salt and wavy. The eyes are big, partially hidden by the upper and lawer eyelids. Make them slightly droopy, The bonorn Ilatves altho eyes are heavily hlghllghled 10 gIve her liquid ayes. Quite a thin neck. Heavily highlighted.

They have a plump fullness, The forehead. The lips look glossy using shade and highlighL He is flashy and tries to be cool but most althe lime ne has a comic role His droopy eyes are evidence ollhis.

He is often up to something devious bul his plans usually backfire He's a character fhat you cannot help but like though. He always falls for the leading herom8 , The hair IS parted mlhe proportion Allhough Ihe character IS a boy. Viewed lace on. I She is naturally friendly and in most scenes she is smiling Draw her with droopy eyes 10 express her cheerlul. Her hairstyle is exaggerated because she is a Fantasy Genre Character. Don'l waste lime Iryinglo ligure out why she has this hairstyle.

Tho hps are drawn with one line, The nose and lips are very close togelher The nostrils are drawn with a short line, The nose IS small and slightly upturne! Oon'llorgal Ihe loose strands 01 hair They curl Inwards. Something symbolic likB a bindl Is on her forehead lor ernphass. There are sparkling highlights in her eyes.

Are these limps ot sweat? No, they are symbols , , , , , , ,. He has hidden subtlety and coldness. Express his andrngynous beauty with a lIauncy fringe and glassy hair. Like the girl, he has a symbol decoraling his forehead. With his eyes positioned! OW, he has the look at a young boy about him. Fierce almond eyes. No eyelashes. His earlobes are bigger lilanlhal Dillie Type B girl's. She is courageous and never gives up. This character has exaggerated eyes.

The lines for Ihe eyebrows amI eyelids are paralJel. The back of her hllad protrudes conSiderably. Draw a defimte eyelid line. Th is pan Is a d ilfe r enl color The eyes are drawn very large and one eye lakes up about a quarter of the lace The corner of Ihe eyes point upwards and out.

The irises are heavily highlighted. Like the girl he Is lively and cheerlul.

  BigField style: Digital manga art series # 01 Overall management

Cartoon characters lpan 3 Figs daving-lechoue, 4, Clothe and dross ina Tile ii Title: How to draw coal looks and characters. She is currently illustrating projects for WildStorm Productions. Visit Irene's web site at wwwibeanclamchowdercom. Thar sywosk done.

And my ftom chit iI me to. Sometimes, certan che, one outlit throughout an entire series, Their clot their personal can see the eating charac acters only have thes can be a good indicator of lity before they even utter a word, after drawing your characters and ereate 8 world to putthem in, Yo Finally, getting them dressed, its time to ur well-dressed characters need somey F their own rooms, Sotun the pages akeady, and get to drawing!

There's a wide array of options, and a lot of tools with subtle variations that can mean the differ- ence between success and failure in your work.

This section is really just a list of what I use and what I use it for, but there are many ways to go. Harder pencil leads are classified as H, while softer leads are classified 5 B,The harder the lead, the lighter the mark. H leads are easier to use for drawing graphic novels. Akreaded rubber eraser eliminates the rest of eraerlesvngsItgets dy very icky though, expecially you tend to ease aot you use something ike a vinylereer ute a cheap, wide dry paint.

PAPER brush to brush away the erserleavings. Tyavariey of paper types to see which Iewon'tsmudge yourart ike using your Works for you.

The ink lows smoothly, and doesn't cot, but the drying time isn't very fast. They cry quickly and the inkrarely, if ever, smudges. Rather than filing thicker lines. This makes the fringe on the in the shadowed area on the pants wth solid black, use vertical scarf much more pronounced compared lines that gradate from thick o thin as the shadow goes from with the books onthe lade dark tolight.

Adding some thicknasst0 the eracksin the ledge shows imperfection and texture. You'll want to add a few more colors to the face to give it dimension and interest.

There re also small points of white inthe eyes to hint at light reflee- tion, added white beneath the lower lashes, too, as stylistic coloring choice, Add clothing pattems and designs, end your drawing now has your ov style.

While long-limbed, narrow bodied characters are one of the most common types in manga, different styles can resultin stouter, more muscular or more full-bodied characters. Regardless of what your particular preference is, the best tool for drawing humans is « good under- standing of human anatomy.

This section is meant to give you a start in that direction. It discusses the proportions to keep in mind when drawing char- acter, the physical differences between the genders and provides tips for dealing with trickier body parts like hands and feet. For a more in-depth guide on drawing the human figure, look for the many books dedicated solely to the subject, or just go out and draw people!

Sr average, make figures approximately eight heads tall-The female figueeishalf head shorter than the pate yet her heights stil about eight ames the engi of her head.

Muscles move, skin stretches and light wil hit those arcas differently and cast different shadows. Spread out, the fingers ofthe hand should pretty much connect toa point at the wrist.

The main features ofthe palm are the thumb group in yellow, the pinky group in well, pink, and the pads under the knuckles. You don't have to draw ala of ines and Fidges on the palm.

Generally, just the heart and brain lines are enough, since they are very prominent. The lef side cof is torsa gets squeezed in as he brings his leg outward, so the muscles of is stomach are more compressed on that side of his body.

It's pretty much the opposite of a iz sas andi at the bird's eye view. Mange-style facial artis not intended to be realistic. You'llalso get help with drawing headls from different angles, and anifty lite guide showing a gradient of expression.

Mouth location varies too, so place it where it best fits the character. It makes them look abit sour, too. This gives a better sense of where other features wll go on the face. The nose is a very angular shape to show how the angle affects it.

Refine the shape into an actual nese. For making the eyes taller, take sac aneny from the cheeks the upper id stays inet up with the horizontal guideline of the face. Draw a stronger jaw, sharp eyes, thin lps or round cheeks. The possibilities are endless. BOY VS. GIRL FACES ef, the jaw io more defined toa bho patrons Stats ene Teregiedeettantoy rh ages Aon a dosoarwdhiguges ere aim ta foshonro oe etal ike thinner lips and shortening or leaving ee Jashes will make hien look more ike boy.

The eye- ball bulges a bit, so add some definition to the eyelid tohint atthe eye's spherical shape. Add wisps of lashes. Play around and create droopy eves, eyes with small pups and sited pupils. There are numerous variations for mouths and lps. Noses can be big, smal, lat, hooked, broken, bulbous, oF simply ugly or attractive.

However, there are also number of ways to make roses look diferent. Nostis might be larger, the nose bridge wider, ort might have a bump on the bridge or a hooked tip. Two small lines to represent the nostri ae all you need for a nose. Avery simplified shadow on the side of the nose works too. Entire books could be, and hhave been, dedicated to the movements and emotions ofthe face alone.

But to get you started, 2 rnumber of emotions with varying degrees of intensity sire shown here. Sometimes, allt takes is the set of the cyebrour ora quirk of the mouth to get feeling across. Ina manga setting, ed hairis often represented with a light gray tone, something with afine grain Hair Color Cs The following examples show naturall variety, although more saturated th; inreal life, ly occurring color ian what youd see BLOND HAIR Blond hair can be straight up sve tinges of ted or brown or can be very light and pale.

I's light, 0 t doesn't hold its own shape, Using very shor strokes forthe jacket collar makes it look lke fur For the bottom portion ofthe jacket, give the short strokes more of a curve to make Fabrics like corduroy and denim ate stiff enough to hold their own shape, as shown by the stand. A good mixture o 3 vale your characters reference and make-believe can keep each dressed in their own particular style. Mind the location of the shirt seams.

Is she easy-going, fancy or filly? The initial js at the widest part of the goes from under Bl focus is the shape. The seam. There is also the seam that pit tothe bottom hem of the jacket. These coats keeping warm, Don't forget ation!

Coats differ from each other in the nuances — from the line at the waist to the number of buttons srfabrie choice. The lines curve makes itdarker The separate fabric that goes into seams. Drawinthe with inks.

Thelengthis and details like buttons, From there, the fabricflares abit long, so the denim pockets and seams. SJ Shorts shorts are drawn like long pants, just at shorter lengths. Be it capri, cargo, boxer style or cutoffs, make sure the shorts you put on your characters match their personalities.

Sketch a skirt her with definition to the fabric. Whether spo! Designs and colors change itup. Draw creases around the heel. There are usually. Add your f favorite colors and patterns to match any out. Depending on wIlelher it is manga or an illustration, for example the same character will have very diNerent features. Compare the di1ferEint drawings 01 the same character below, especiaJly looking at the ways the eyes and hands have been drawn Do you notice how some features have been drawn in detail while others have been ami lied.

You can easily set! Whal can be done about it? The answer is think IDolyg. You don't have to be able to draw it. What's more important is that you acquire a tet! Bullheleeling is important. Think back 10 the square boxes In Chapter 1. They are the Simplest polygons. Next, we will take a look at how characters' bodies can be made up 01 polygons.

The completed drawing: The prof,essional'swork You can" put your finger on It but something is wrong with this drawing. This is the lirs! The lips this.

So It looks as if they are just stuck on. The eyes are not the same height. The cross-lines on the face are at completely different angles. The lines for the height of the eyes should be parallel.

The cross-lines on the face should cross the midline at right angles. When you can draw laces as cubes without having to lhink about it, you know that you have improved a great deal. Drawing the features. Real Type Character 1. Fi rst of all, the honzontal cross-line decides the height of the eyes Exaggerated Type Character 2. Next, the midline IS drawn vertically an the full face. This line marks the bridge of the nose. The distance between these two lines decides the size 01 the eyes.

The knack when drawing the character below Is to draw these lines wide apart so that the eyes are big 4. The position for the nostrils is marked on the line for the bridge of the nose. The eyes are drawn on this line and their size roughly estimated. The general rule is thai the lower the position 01 tile eyes, the mare childish the face See the drawing below. Above the line thaI decides the height of the eyes draw another line to decide the size of the ears. The height of the ears is about where the frame of a pair of glasses would sit.

Normally the posltion for the corner of the eyes IS about where the root 01 the ear is. The outline between the eyebrow line and the eye line hollows out.

This makes the depressions for the eyes. Mistakes are often made at thts point. Even those people who are fairly good at draWing end up drawing tile base of the nose from the eye line, Have a look at the bridge of your nose In the mirror See how it starts between the eyebrows, depresses in between the eyes.

Make sure Ihls ,wldlh Is right " r, , 7. The width of the lips is marked on the horlzontal Ine for the mouth. Take exira care with the eyebrows because it IS easy to draw them uneven. The same With the lips. If they were uneven, even a smile would look contorted. The ohm is tapered. The Real Type Character has a broad chin and the Exaggerated Type, a chin concentrated at the center of the face.

Be aware of the jawbone in the Real Type Character. Below we have tile basic sel ot head positions lor the characters featured in this book. Once you can draw these, you can probably create your own work Basic 2 Profile ; Level DI difficulty 1 The knack is to distance the base of the nose and eyeballs further apart than you would firsllhink.

Take into consideration the height of Ihe nose between the eyes The bottom I protrudes less than the top.

Ba,slc 1 FrDntal : Level of difficulty 1 Asymmetry is most obvious in this position. The width to the left and right of the vertical midline must be the same. Oblique from behind: Level of difficulty 3 Don't forget the thickness of the ears. Make sure the horizontal eye-line remains level. Oblique left: Level of difficulty 2 Even thOllgh this is one that people can draw, It is also easy 10 get Ihe perspective out, Pay attention to the sea olthe eyes.

The position of the nostrils IS higher than you would first think. From above:. Level of difficulty 5 Tile positions for Ihe lop of the nose and the mouth are almost exactly the same. The angle of the eyebrows changes the down-looking position of Ihe head. Refer to Ihis position for each character in the pages to follow Oblique left and right From slightly above: Levelu' d.

People t'end 10 draw Ihe ears and the nose too close together. This angle must be practiced because It is commonly used. Take care where you draw the hairline because it differs depending on the character. Oblique right: Level of difficulty 4 This angle often appears In Interview tests at animation studio companies. How the parts on the other side of the nose-line the cheeks, eyes, eyelids and eyebrows are drawn Is very important.

II is a good indication of your drawing ability. Pay attention to the distance between the eyes and ears. Make the chin and forehead parallel. Do the same with the eyebrows and eyes. From Slightly above: Level of difficulty 2 This is at an angle so it Is not exactly a lull view from above. Nevertheless the nose and mouth are drawn close to each other Right-handers generally tend to have difficulty in drawing this position properly.

Introduction to Different Tvpes of Characters Which type o' characlers do you want to draw? The next page. Her traits are the exaggerated hairstyle and eyes. Once you have mastered lhese two characteristics, you SllDuld have no probtem drawing this type of character Take care with her gtossy hair, hlghtighted lips and flQuid eyes. The Irlnge Is salt and wavy. The eyes are big, partially hidden by the upper and lawer eyelids. Make them slightly droopy, The bonorn Ilatves altho eyes are heavily hlghllghled 10 gIve her liquid ayes.

Quite a thin neck. Heavily highlighted. They have a plump fullness, The forehead. The lips look glossy using shade and highlighL He is flashy and tries to be cool but most althe lime ne has a comic role His droopy eyes are evidence ollhis. He is often up to something devious bul his plans usually backfire He's a character fhat you cannot help but like though. He always falls for the leading herom8 , The hair IS parted mlhe proportion Allhough Ihe character IS a boy.

Viewed lace on. I She is naturally friendly and in most scenes she is smiling Draw her with droopy eyes 10 express her cheerlul.

Her hairstyle is exaggerated because she is a Fantasy Genre Character. Don'l waste lime Iryinglo ligure out why she has this hairstyle. Tho hps are drawn with one line, The nose and lips are very close togelher The nostrils are drawn with a short line, The nose IS small and slightly upturne! Oon'llorgal Ihe loose strands 01 hair They curl Inwards. Something symbolic likB a bindl Is on her forehead lor ernphass.

There are sparkling highlights in her eyes. Are these limps ot sweat? No, they are symbols , , , , , , ,. He has hidden subtlety and coldness. Express his andrngynous beauty with a lIauncy fringe and glassy hair.

Like the girl, he has a symbol decoraling his forehead. With his eyes positioned! OW, he has the look at a young boy about him. Fierce almond eyes. No eyelashes. His earlobes are bigger lilanlhal Dillie Type B girl's.

She is courageous and never gives up. This character has exaggerated eyes. The lines for Ihe eyebrows amI eyelids are paralJel. The back of her hllad protrudes conSiderably.

Draw a defimte eyelid line. Th is pan Is a d ilfe r enl color The eyes are drawn very large and one eye lakes up about a quarter of the lace The corner of Ihe eyes point upwards and out.

The irises are heavily highlighted. Like the girl he Is lively and cheerlul. His energy is expressen in his large upturned mouth and sparkling eyes. He is quite mischievous. They lurn upwards and their distance lrom the eyes widens allhe ends.

The double eyelid line joins the eyebrow above the , The chin is slightly broad. Lines are drawn showing Ihe hair slicked down at the back Androgynous, boyisl alnd energetic. A drplomatically cheerful group leader. Draw her with nicely varied clear lines. She ollen wears simple sccesscries that are I;onnected to the slory line rn some way ramer than as decoration. The lines lor Ihe upper eyelids, eyebrows and chin are drawn in thick strong curves to express her liveliness.

Her girlish femininity IS expressed in a natural way in the thinness of her chin and neck, the absence of the lawbone and the lines drawn beneath lhe eyes. Th e half stick ing up shows her ens r! He r pup ils are mada u [l Dr severa IUnes " , " " -" [ The eyelashes are! Reter to p. Rather boyish features. Fea 1 h e ry hal r conveys liveliness. No lIig h I i Uhls. The mflulll turns up at tI1e edges conveyinq Ilvelinus There is a break In ma line at me end of the nose.

Tile neck is clearly shaded. The large, round Jel-black irises emphasize his positivity and trust in people. Take care to dis! This is the simplest character in the book but gelling his expression right may be qUite dilliculi. The thick slralghtllnes 01 hiS eyebrows denote gaJlanlry Don' color the " ,',' eyebrows black because this would make him look lIke on old man. He IS stili a young boy so Ihere Is a trace 01 fullness in the cheeks. The eyelashes make Ihe eyes look Wide open.

The mouth is drawn realistically with 3 horizontal lines. The shading below the bol1om lip shows follness In prol1lo Iho mouth turns down at the ends , , , , , , The ears are bigger than the eyes. They are lIeshy. Thev are never pierced. The neck is oot The jawbone is clearly drawn. She is stight of build and everything aparl Irom her eyes is drawn small and thin. She is well mannered and not rebellious. She is expressionless and uncommunicative. Express her closed heart by drawing dowrHurned eyebrows and thin Irises, and usmg a vague color for her eyes.

Her ears and eyes are not completely visible. The eyebrows are far below the top 01 the heat! To give the impression or line hair, divide It mto Une tuns. This is ammged neatly to express her good manners.

The irises are narrow The lop and boltom parts olller irises are not visible Draw a thin double eyelid line The eyebrows are close to the eyes The thin eyebrows Indicate a lack or assertiveness.

Curl the corners of the eyes upwards A small downturned mouth wllh a very short line for the bottom lip The mouth is eJ lremety narrow The chin 15 acutely pointed. The bridge of the nose IS lIat. The nose only prolrude. Nostrils are not drawn. The chin line is slightly rounded.

The jawbone is never drawn. I A girlisn. Draw him wilh a lonely expression on his face as if he is always worried about something HIS delicate nature is evident in the sharply pOinted leslures such as the cheeks, chin.

Draw his neck thin like Ihe girl's. Out of ailihe characlers featured In this book, it Is probably most difficullio dlsHnguish between boy and glfl in Simple Type B. Loneliness Is expressed in the distance between Ihe eyes. The eyelltliines show the delicate skin 01 hiS eyelids. It seems as if she is. Draw her carefree as if she islloaling above Ihls world untouched by mundane things. You must draw everything ln line detail. The carelully arranged hal rstyle md lea las the you og girl's 1'1 rg in ity.

Draw them simpty Without Irises ta ki n g ca re to make them sym metnea I. Th ink of - them as glass balls. Eyes with some 01 the lop concealed like 1l1is give the character a. The lower eyelashes are drawn too. Her nose are drawn small to expressexollcism, - Give the cheeks a girlish fullness, N lIVe r draw the Jawbo ne. Head ,R. He does not reveal his feelings and actually he IS shy.

DIlen l'his character IS haunted by the past. Express his sense 01 responsibility and stoic nalure in his broad chin and strong neck. He doesn'l care lor adornmenl so don't draw accessories such as earrings. Don't put highlights in his 'hair. There are lines on his lace showing. I:lIshevelied long hair fha! The lop and bottom lips are clearly drawn There Is shading under the bottom lip The pronounced brow belween lila forehead and the nose makes him leok d i 51i flgul shed Tn e nose Is not exagg eratad so don't make II pointed.

Tight lips give him a down- turned mouth. The ends are drawn I h ickly. A Ih Ick. SI igh ' thinner Ihan the outline indicates. D roportlo n of his race. Covering the upper halves 01 his eyes give. TIl a nose Is st ra igMI and bol d. Her naivete is expressed in the large baby eyes. Oraw her with flallealures and few contours, a small uplurned nose and liny mouth like a Japanese festival doll.

Everything is rounded. The upper parts 01 the eyes are slightly covered by the eyelids and this gives Ihe lace a positive expresson. II is best to imagine her as someone you'd be happy 10 have around.

A ralher downturne!! Thin eyebrows. The unes lor Iheeyel:trows and eyes are parallel. The bridge of Ihe nose is 1' drawn. The moulh rs drawn smaller Ulan Iha! The lips don 1 protrude. He is slender and athle! Contrary to expectalions he is easily moved to tears and has a hear! He o1ten has sisters, Generally speaking, draw him with the image 01 a band member in mind Fleshy eyebrows on the brow. Almond ayes. The eyes are positioned Quite high on lhe face.

VJewed trom above the outer comers he eyes turn up. The ea rs a fe n al rea Ity exag gerate!!. She has a melancholic, lonely expression. Lei her speak through her eyes.. Usually she has no parents and falls lor older men.

Even forward laCing, the eyelids cover her eyes slighlly. The partially concealed irises indicate her lack 01 openness. The fringe fa! The eyebrows, almost straight and thick, show strong will. Her insolence Is indicated by the large part 01 the whites ollhe eyes II"I.

The face is shaped. This is basically Ihe same as the Heroine. Her h air IS messy and uneven suggesting thai she Is not looked afterp roperly. The lips are not drawn. The forehead is aim est flat. The brow doesn't protrude. The lip ollila nose Is small and slightly rounded.

Ma chi n ery Is attache d to h or bo dy so these kinds 0 f maries are ve ry co m m on. How are you going [0 express what you ale Ihinkmg?

That is what counts. There are no shortcuts 10 Improving your draWing skills, The mere you persevere, the better your drawings wilt be Have a go at drawing everything around you, no maUer what. Copy the drawings done by skillul artists. Observe everything in your everyday liIe. Walch everything around you people's expressions, Iheir gestures, the way they talk, the way lhey move, lhe way they dress.

Do the same wilh things. Observe the position ollhe light source and the shadows, colors, shapes, Size, textures. Before you know II you will lind yourself watching everything without even thinking Watch, think and draw The more. II you do end up feeling like this. Lastly, I wanllo say Ihaillack both lhe technique and knowledge to draw a tenth of what I imagine. But an amateur can become a protessional And t am Ihinking more like a prolessional now than ever before.

Chapter 3 Drawing Bod. In the picture below the body IS drawn as boxes. Though I say it again, it is the quickest way to improving your ability to draw In three dimensions, Once you master the basics properly you can go on to exaggerate the characlef design and produce good drawings, 1.

Neck Shoulder joint. If the chest is struck the solar plexus caves in. So think of iI as a large joint. Always remember which direction the fronl pari and sides of the body are lacing. Adding on the arms. Naturally, they come oul at the sides. The knee is joined at the front. Professionals draw the knee joints as circles in their rough sketches.

It is helpful to think 01 the ankle and shoulder joints as balls as il the human body was a robot. The sales 01 the feel are not flat bul al an angle. The shoulders don't just come out al the sides. They are connected to the neck at an angle at the lronl of the body as well. Note Ihal the calves bulge. Think of the arms as moving on balls. Basically, shading depends on the direction of light Reier to the shading on the flanks of 1.

Remember that even the fingers should be shaded. Just by lookmg at the shading In 4 , you can see how getting a fee! In the lasl section we covered basic shapes. The next slep is to think of smooth curved surlaees.