ShojoFashionMangaArtSchool,Boys

HowtoDrawCoolCharacters,ActionScenes&ModernLooks

IreneFlores&KrisanneMcSpadden

Cincinnati,Ohioimpact-books.com

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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)