How To Draw Manga Vol. 29 - Putting Things in Perspective
How To Draw Manga Vol. 29 - Putting Things in Perspective
How To Draw Manga Vol. 29 - Putting Things in Perspective
lryruryw
EI t,
.*
t&.%% X?*.**
K's Art
J]I"TI
FEMALE CHARACTERS
t5BN4-7661 1146_X
ILLUSTRATING BATTLES
ISBN4 7661-1 147_8
5iih.!--56'-- 14+4
lsl/
xcDRts/
MAKING ANIME
ISBN4-7661 -1 239-3
-rEiti:uum:
}
m.
rsf !q-:ed
Ercl usively
!_1
I-l
:
--
trr:r] l;er.:a
lnu
-': lr:ri-ll-rl-rr
l"'-[;- [
i:
_n:
:..!-
.i'
iffie1
ruUmmqUrmilJm0rrliEr.
re
:-i-;_
"-
O 1 997
K's Art
-1 4-1
Production Production
director: manager: Background aftist: Finishing work artist: English title logo design: English edition layout: editor:
Japanese edition
Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission 0f the publisher Distributed
lNC. 4-3 Kanda Surugadai, Chiyoda-ku, Tokyo 0 -871 0 Japan Tel: +81-(0)3-3233-4083 Fax +81-(0)3-3233-4106
NIPP0N SHUPPAN HANBAI
1
1
by
Distributed Exclusively ln North America by Digital Manga Distribution 1123 Dominguez St., Unit "K"
Carson, CA 90746, U.S.A. Tel: (310)- 604-9701 Fax: (310)- 604-1134
E-mail:
Backgrounds indicate where characters are. They are drawn to illustrate places and situations.
l'm leaving
tor schooll
Vx
: :i ,: :::
:i:
Ah.1omebody
1...1
can't etopl
lhe cornerl
Oelter Lake a
ehor\cuLl
PITTER-PATTER
fr
ln this scene, a girl in a hurry collides with someone at a corner. The scene is much easier to grasp with the background.
/'1 .o 9.
Table of Gontents
lntroduction:Why Draw
Backgrounds?......,s .
.
the
Gomposition of a Picture...........................s0
with a Single Horizon Line.......................12 r Drawing upward views r Three-point perspective drawing . Drawing manga is just like filming a r Ariel view of scenery Bird's-eye r Presentation: Long shots and
movie. close-ups
view
Perspective:
Space
........65
g at a Photog raph
r Drawings suited to one-point perspective . when to use two-point perspective Chapter 3 Distance of natural obiects: Tree-Lined Roads/ .......67 Light and Ghapter 2 Howto DrawTrees.. ....................,08 Drawing the r Drawing roadside trees From Everyday to 0uter Space...... ..................2g r Drawing atree-lined road
Outdoors: Scenery
Shadow/Sky
.,.......... .........30 n Drawing shrubbery ..............,......34 . Leaves of roadside trees How to Draw Slopes .........36 How to Draw Shad0ws.....................................72 How to Draw Forked Roads . Sunlight Drawing Houses - When the Vanishing Point is Far Away .......38 ' Light from streetlights and indoor lights Drawing a Gymnasium .................40
How to Draw Characters and
r r
Slide
method
Ghapter 4
Chapter 5 Drawing lndoor Scenes How to Draw Backgrounds Hallways/Stairs/Small 0bjects...........7e Learning by
Doing.
..............10e
1
How to Make a Narrow Hallway Look Wide.....80 Classroom: How to Draw Desks.......................83
1. 2.
Distance Between Characters and Walls .........88 How to Draw lndoor Scenes (Living room) ......90 1. Drawing the opposite wall 2. Drawing a rough sketch 3. Drawing a couch. 4. Drawing a table.
fluid
5.DrawingaWstand.
Drawing Small lndoor Objects .........................95
25
.
r r
32
angles.
.......................135
.................100 .................102
Structure of doors
Opening doors Examples of open doors
. . .
r
Drawing
Stairs..........
.................105
10
Chapter
Basics
character standing in a wasteland, draw a dividing line between the earth and the sky (horizon). All backgrounds begin with drawing of the horizon.
/i\
The expanse of the earth differs depending on the position of the horizon.
I /t,
Column: ln Japanese class, the dividing line between the earth and the sky is called chiheisen (horizon) and the dividing line between oceans and the sky is called suiheisen (horizon), but both
12
I \.\]
When drawing the horizon, pretend like you are filming a movie and think about where you will hold the camera.
Column:Why is the horizon on land also called suiheisen in drawing? lt is called suiheisen because it is a horizontal (suihei) line (sen).
13
--/ -=-::=>
Drawing the horizon at foot level expresses the expanse of the wasteland. This is a low-angled composition.
//Wi
Filming conditions
The character will float in the air when the horizon is drawn below foot level.
D
\
@ The edqe of a cliff is the height of the horizon
a character
Drawing the horizon above the head of a character creates the sensation of looking down on the character. The so-called bird's-eye view. This is a high-angteo composition.
.".:\\.-!1,,
,rz
Viewing height
-;:-:ally looking down on person (bird,s_eye view of character) Bird's-eye view ard the horizon
When yoti take::'ii piciiire from'*ie nonnat
15
the head and feet. This will create the most ordinary view.
Filming conditions
@ Low angle
16
This is often used in scenes with dialogue. Draw the horizon at eye level when a character is moving in this direction or for close-ups of the face.
. ftis "
. -lis
.^-
Here a character between a close-up of feet in the foreground and a character in the distance create a good sense of depth.
work (presentation).
A cut using a long outdoor shot There isn't much need to think about the perspective of
small objects in
scenes using long shots.
Close-up...zoom in
18
G
@
:
-se a long shot when to illustrate lil:-irsfhing with an :,,:-all view. Use a : :se-up when you want :nrphasize one part.
r,t-- lvdflt
brp
rtdce-xf
rnqnifed;i',ir
rGEtss
orapstda:: rXrgdemgst
.lfiire
fii*angle
I"nnumn: Technically, wide angle is a word used in photography. A thicker lens than usual is used
to make
Vanishing point
The vanishing point is the point where all perspective lines c0nverge. A drawing technique that uses one vanishing point is called one-point perspective. There are also two- and three-point perspectives, but let's learn about the vanishing point using one-point perspective f irst.
Vanishing point
Changing the position of the vanishing point changes how the sides look.
20
Column: When you draw a building, for instance, think about whether you want to see the building from the right or from the left. lf you want to see the building from the right, place the vanishing point in tire position shown in the right frame.
: cture. lf you stand directly in *cnt of your subject, the *anishing point is in the middle. " iou move to the right, the ,-rrishing point moves to the -,::t as well.
l
1\
| ..t
C
!
oo "-------r'
30
Side view
--s
is taken from the right side of the road. You can see more of the wall on the left side.
This is taken from the left. You can see more of the right side of the road.
'way to pick a
When you want to draw a simple building roof or other
objects behind characters, use one-point perspective. The vanishing point could be in a variety of positions, depending on the diagonal lines of your outline. Pick a vanishing point by choosing an angle you like.
1. Draw outline
ll
2. Draw horizon
'll ,*-\
:-" *l*,
-("
\l
'r
Column: 0nce you have picked a vanishing point, draw a rough sketch. lgnore the
other perspective lines of the outline and draw all the lines in the direction of just the one vanishing point. Regarding background and perspective, once you get used to this, you can begin drawing a rough sketch
by first picking a horizon and a
Extend diagonal line of outline. The point where it meets the horizon line becomes the vanishing point.
:Whil0:'..l0okingr,,
ien drawing backgrounds,
01,,
,:
:
have
"..en. Perspective drawing is -, most efficient way to : -Juce a good drawing, so s get comfortable with it.
Reference photograph
,,,'
-'
:
-; :hotograph while
- l ngs and the
-:ortant to grasp
picture.
: :re
t:
-- .,:'all
- :r
: 'lg
0n y0ur
, ": ':'reference
ln photographs the vanishing point is often not clear. It is important that you choose a clear horizon and vanishing point for your drawing.
23
'lh
ffi
ffi
Ren drawing
Start with the foreground. Make foreground lines bold and lines in the distance thin. Leave windows and other details for last. Contour lines Drawing thin non-contour lines creates a threedimensional etfect.
24
ffi
Erase completely after finishing the pen drawing. Correct protruding lines and other anomalies after erasing.
.'
-se solid colors if you wantto create an overallwhite drawing Lighfly apply tone to shaded areas.
, .:cut where the light (sun)and shadows are when applying tone. ,r' ; ! .,,, tone is applied under the eaves and to the sides of buildings.
25
One-point perspective is short for "one-point perspective drawing." This technique is suited to drawing indoor scenes and creating a sense of depth.
Vanishing point
ln a one-point drawing, you can only see the front of an object when the vanishing point comes from within the object,
27
overall view. Use a close-up when you want to emphasize one pafi.
vanishing point
28
2 DrqwingtheOffint
Chopter
Frcm hrerydoyScenety ilo Outer Spqce
a -71\ can R
li:iff',i:t<nowQffil
how the eaves
overhang.
ffi
The "center" of the wall
--.
diagonal lines
Roof height
Draw a vertical line from the center of the wall. lt can be whatever length you prefer (the longer it is, the steeper the angle of the roof will be). Slanted line
,r
Corner of wall
The line drawn straight to the side of the apex of the roof makes the roof look more realistic. Supplementary line
liwnsring point
line
parallelto
'
',I
,6@
Line @ can be drawn only after the supplementary line @ has been drawn.
at
your eyes.
1=
urr-.ll
Create a vanishing point for slopes in addition to the normal vanishing point on the horizon line. Buildings are drawn based on the normal vanishing point, while slopes are based on the slope vanishing point.
.i..*:-
t ar, ,<
(B 'l {
When you draw two vanishing points veftical to each other, make sure they are on a straight veftical line. Slope vanishing point
.&/
Points where vertical building lines and the road (slope) intersect. The extended lines that link these points and the vanishing point become tht lines for the floors (foundations) of buildings.
Guardrails are located on the edges of roads, so their lines converge on the slope vanishing point.
ic'a,rhill slope
:rshing point
For downhill slopes, place the downhill slope vanishing point below the horizon.
is impoftant to draw a foundation so that the house will stand straight up. Express a slope by the difference between the road line and the floor line of the building.
Draw characters above the horizon as if you were looking up at them and characters below the horizon as if you were looking down on them.
35
Think of a forked road as an intersection of two roads with differing vanishing points.
Aerial photograph
Vanishing point A of a
straight road
Vanishing points B
C
To vanishing point A
and
of branching
roads
To vanishing
Point B
BA
hamnlinuation
The closer the road is to the horizon, the narrower it will look, so be careful not to make roads B and C too wide.
Buildings stand along the road, so the road vanishing point serves as the perspective.
Vanishing point
What do you do when the vanishing point of the building you want to draw is located off the paper? There are three things you can do.
'1
4.'
to draw
@ Trace
Put tracing paper or transparent PPC (copy) paper over the enlarged rough sketch and draw with pen.
JO
lte
3nce you have decided on the outer border of building, partition the vertical lines.
gw
loilumn' One trick is to draw the partition lines using yellow or blue colored pencits (yellow and blue wiil not show up when printed). rt is usua[y on one side
or the other that the vanishing point becomes so far away that you cannot reach it with a ruler.
l i
3ei
buildings like a
gymnasium using two-point perspective.
Distinctive features of gymnasiums Exterior: Many are wide and have a round roof. lnterior: Spacious. Try to present them in a way that makes them look spacious.
When giving the gymnasium shape, enclose the roof portion in a box. How to align the oval template:
The type of oval you choose depends 0n your
,Mne
nullng.
When you draw a scene close to a wall, create the atmosphere of a gymnasium by including windows near the floor, protective bars on windows and other distinctive objects.
When drawing backgrounds, the size of characters is very impoftant. Here you will learn how to draw a background from the perspective of characters.
,,1
a
V
^/H
&
I
v
I
o. MI \)v
The three characters are Pretty
from above.
-*
face of Girl A. These three characters are standing in a straight line, so even if there is
a height difference between the characters, the relationship of the other two characters is like that shown in the side view. When viewed from the side, GirlA is the only one that fits in with the background.
t
Vanishing poi
1. Link the feet of GirlA with the vanishing point. 2. Since the three characters are standing ir
straight line, move the other two character to the same line as GirlA.
42
Vanishing point
/
ff:
characters on the same perspective line in a straight line.
-\-
Perspective line
43
Slide method
1. Draw the original character. 2. Choose an appropriate vanishing point, link it to the character and
placing characters.
Choose a vanishing point near the
original character.
0riginahharacter
Y
I
- - -1- - - - - -
,,t
--
-L - - - *- - - -- -
New vanishing
point
lL
Column: Place multiple characters by slidint'one character. You can think of it as placement by
reproduction/movement.
be based. 2. Choose a horizon and vanishing point and draw a rough sketch of the background. 3. Based on the first character you drew, begin placing all the other characters from the vanishing point (this is called the slide method). 4. Lastly, draw the background.
fte
Column: lt does not matter if the background changes a little later on. When drawing the first character, it is important to choose the horizon and vanishing point, which are the core of the picture.
Draw a short horizontal line where you want to put the character.
t_*w
View from above Supplementary line to lind the"
Column: Standing directly in front of or directly behind is the same as standing in a straight line. This is called "characters on the same line."
T-c
tu -:'r you want to place .:"-acters like this and not - . sfaight line, there are i,r : #0!S to do it.
0riginal character
Lll
Camera
J=-
'':
original ---{\
be
road.
',
@ Parallel translation and sliding backward and fonruard-0n the basis of dummy
/& _--_FI]l-i:_
lt
vanishing point.
*/"ry
i I
)t)
II
I}
j* -- ptacement
:
Slide the original character into a parallel position (height is the same).
.'\t II f I
near the dummy.
vanishing
Point
-r--
47
i1;,l}ttK-
Column: For scenes of students going to school, place blocks of two or three students walking side by side anc place a single student behind, in front of or beside them.
48
,-4
'':
rn;yl'il,H:iliT:iy,:f";t'rs
in tne
toiesr;nd,;;;
i;;; l;A;;;;;;i;i;i;;t|1;
49
A human head is about 30 cm (11.81 in.). Use a height of 160 cn (5.25 ft.).
sliding. When you want to express height differences, do so by raising and lowering the head, leaving the feet as they are.
-30 cm
(-11.
Bl
in.)
t,.6o
r*
lg*m ,'/
180 cm = 5,90 ft. 160 cm = 5.25 ft. 150 cm = 4.92 ft. 130 cm = 4.27 ft.
Not good
Good
"--"***^ z1
|
,J
rT1
"48' i
Y rTvl 1i:r
,.-.*
\/I *
r-***-r"I
.a
-.; - *.*-l*-.1
.L
'ii. :fii
.-i-
50
Column: Give each person in a crowd a different direction and different clothes to make a picture come alive.
An easier
to draw crowds
Draw various sized heads
-:. Then draw the bodies using the heads :: a measure of each person,s height.
Cut with rough image of background
r.
Horizon
ffi,.orno.
Measure the length of the head and multi to get the total length of the character. Multiply by five if the
headto-body ratio is 1:5 and multiply by six if the head-to-body ratio is 1:6.
Length of head
Note:Always multiply the head length by the same number for all characters.
All are multiplied by different number. ln this drawing, heights were determined using the same head-to-body ratio before individual differences in head-to-body ratio were added.
After the total length has been determined, balance the characters to taste.
five. Good
3,ack
,-:':
.
-=^ drawing backgrounds for bust shots of characters, draw the body of the character even if it won't all appear in the
--; ^eight
--'e.
Rough image
I i,.,
Edge of sidewalk (road side)
door
line \
-----t ----'-l
I
I
2m
\'
'
1.8 m
*-*.t
door=2m(6,56ft,)
(adult male)
The height 0, the door is about one head higher than the characler
lilll ,:
j'ound and
a dummy.
Column: Synchronize the scale of the character and the background. When drawing the
background, clearly show how high background parts are above the ground. When you
-: --lllllti
tf. 1
:fiaracter
try to do it by eye, you end up with doors that are too big or houses that are to small in relation to the character.
I\
I .ll
,'
t,a lt
'
l\
:
1
tl,t\
',;*'; {\
i l:
J: i1
t,
\
\
\
l
j
-'t
@ You get the right guardrail heig' in relation to the size of the character.
,f
\,Third
pole
\
/The interval between
guardrail poles is uniform.
You are free to choose any
,ono*
or
second pole Divide at 1i2 the height Supplementary line in direction of vanishing point.
interval.
54
JJJ
==2,
indiscrim inately when drawing long shots of buildings and upward and downward views, etc. Simple ideas can create large effects.
placement of buildings in a rough sketch. The technique you will use is veftical twopoint perspective.
building
Character
ffi
tb
1,,fr,,1
Location proposal 2
G
D
E
Characl
er
Street
A
56
c
"*,1
_il
3$
i
k'edtbpotut
illt@s ranishing point:
illtlwvanishing
in
and drawings the vanishing point is always placed on the norizon and objects
tw_o-point perspective
perpe
nd
r@As
ffi&m
was vani
icu rai
iil;
iffi:T
i:TJ".J
ji ,'
Ootto*iiinu"
;inh
\
.
tr..'\
--xr
"r"'\ .,...."\ I
!\ ''...\"
\ . \\ \\\
\\X
\\/ \
two-point
/'.,, I .'r1..'{l,,.#rr, \
I
,,
'--i
g';g--r-:n
picture ispracedon
":-:.-:;:i{S{,::--
-ffi1 I
Fil)=Q';:".+f
itssiol"""'"
fu
- three-point perspective, a third vanishing point is added to give a sense of : stance to height. Unlike one-point and two-point perspectives, the usual vedical ,-i parallel lines are not present.ln addition, the horizon line and vertical lines
-
::rsect perpendicularly.
,fu w
j
Two-point perspective
Skyscrapers
try.drawing-a map
r:,:::::
terill0i!0llpqf$:$rtelpsiilaralr*Iei,g&d$-6_:i,]
:i:lgri{r.c$rt*ixll,ber::]r:,:l:::i:':iii::ii:
ti.;lrt: :!,:,::::r:i::,::r,;ii::rr:::,,,. -r'.1-.rr...-..,
:nOii'iielg$iiSgi:
!.ri&i?,0ii1&:::i:i::il
column: when drawing a bird's-eye view of scenery using one-point perspective, freely place the vanishing point in accordance with the objective of the piciure or the composition.
61
Reducing the depth of buildings is effective when the main subject is in the foreground and the buildings are used for pure scenery in the background.
This
ofa
making the width (depth) of buildings narrower eliminates the cramped feeling.
6ct*
Draw objects far away with thin lines. For lines that run into characters, draw them thin as if they fade away and do not make contact with the character.
There is a big difference even then the frames are the same size and the vanishing points are in the same position. Buildings drawn with reduced width Buildings drawn with normal width
Column: When you want to avoid drawing a confusing group of buildings in a long, narrow frame, draw buildings as if they were in the distance using narrow depth lines.
when the
Distorted ground used for dramatic presentation can be used in a picture where you
is curved
Groupff:huildinge
; Wfien,dnwin
usins,
vertieal'hrrro.pint perspective
The amount of distortion of the curved surface depends on ndividual sensitivity. Draw freely. ln fie case of a group of buildings, rse vertical two-point perspective.
,'lhen depicting outer space in manga, compose pictures r a way that creates a sense of distance.
in the
Many small stars in the distance ln the middle, place planets ihat are just big enough for ,,ou to can discern their :atterns.
splatter white conection fruid for the dots representing very sma, stars.
Dots
will
be
a7o
a
a
Put oil-based correction fluid on tip of pen
@ Ftick with brush column: correction fruid wi, spratter in the generar vicinity, so put tape around the manuscript and frame to mask;;;.'
65
planet circles.
otE
( )-:
03E
(-)o3
,--, (J 3 ! : !-r-, /--\ 3
Give planets a touch of color and apply tone to make them round
ooi
mysteriousness of outer space using special tone patterns and applying layers of tone.
planted at even intervals, choose the positions of the first and second trees and use the technique to an even interval. Think of tree trunks as poles,
Side view
@ Draw supplementary
line.
) Choose interval
between trees.
lir,
ta....
Draw vanishing point and
Place on sidewalk slightly
supplementary lines connecting it with tip of the tree and the base.
Mark the spot where you want to plant the next tree.
.i
Second tree
,;' ,',
a
.I
Fourth tree
Column:When drawing roadside trees and tree-lined roads, first clearly sketch the road and sidewalk. (Needless to say, you need a vanishing point and horizon.)
lraw a line of trees on ,re side of the treered road and slide it to
7
Perspective line for road
tl
1' ---'-'
The trick is to raise veftical lines from the rerspective line where trees will be placed.
Golumn:This technique can also be used for drawing opposiig doors in condominiums and hotels and opposing windows on trains.
69
.w.
Drawing shrubbery
Shrubbery can be round or square. lt is best to
simplify it.
Square type
ooo
Round type
r
:
l
6't
A tree consists of leaves and a trunk.
''s.
There is no need to draw everything. ln the case of both trunks and leaves, do not draw the parts with light hitting them. Think about the direction of the light and draw the shadowed parts. Give the trunk the feel of a trunk and leaves the feel of a leaf.
kEler@-L@tesE
:;:, nese
parasol/Maple
i'-\)44 : Y/
!^ \v//
$.
1--l-**
Sycamore
iN)N'\ \( \N)
t\
CherrylZelkova
ffiffi
AurNS,
@
g"
Example: Roadside trees drawn close together
Chinaberry/False acacia
T-
l{ow, ..hi
1;. r:urself the following
: - :S-rrons when drawing
had6illlsii.,iiii.....i
or evening:
SiirEi,ow is long.
--:
: :
be.
qI
Evening sun
\-t
++
East 18:00 16:00
14:00
-.*=
West 6:00
The lengths of shadows created bY sunlight are t:4^-^-r different depending on the
time of day.
When drawing shadows in manga, choose the length and direction of shadows
by thinking about what time of the day it is.
Shadows
Sunlight
below eaves
solid.
summer
Make them
't,:,',',,,,.',,t'.,'.,
kht
dagnnal lines.
te
Perspective is
used for
:eing Iit.
At the heafi of this matter is how to place objects. Draw objects in the foreground bigger and objects in the
background smaller,
t"-- i,i
flwfl$rlj'
lur,l_lr,,"ll
rl
l'
Rivers
Draw rivers using the techniques for drawing
roads. Choose a
Vanishing point
Horizon
Normal river
(use technique for straight road)
meandering river.
1;-*:'-
for drawing rivers, rnountalns and other foreground objeets tlmt move ofi into the distance.
'
with a sense of distance or any object you want to give a sense of distance.
77
Various
Setting
sun
78
There are two ways to make a hallway in a narrow frame look wide.
"
';,:",11
\:4..'l rrlt
t,,,,,,fi,tr ::,lil.
s#
|Z/Y'
\i.,,/,f \
:l
.l
I ,.lli tl:1:::I1
t+:....:l:::!l
\i:{:i}/
l:/r';Altl
,T,1,,/
t:i,H
0.Y."E)
m
Hallway drawn using regular one-point perspective
@ Widen hallway
wall
-re farther
apart the two points are, the wider the space will be.
Narrow space
When you reverse the points the
Wide space
one-point
perspective (when the two points are close together).
Draw the right wall from the right point and the E left wall from the left
The closer the two points are, the closer it will be to one-point perspective.
: rr *
point.
I
-se when you want to create tension or . :'3SSUre.
E.
for drawing the background when you want to put the character in the center.
should end before and after the vanishing points. (unique to this technique)
Example: Dead ends, three-forked roads,
When using this technique for T-shaped junctions, draw a wall or house directly ahead (on the horizon).
Character background/Town
82
lrregular two-point perspective comes in handy when you want to make a narrow space (hallway, etc.) look wide or make a scene in a narrow frame Iook wide.
i:i.iii
83
A character sitting at a desk in class. First imagine the composition you want and
Rough sketch Find the vanishing point from the shoulder line of the character and the desk line.
Vanishing point
\]"'J*xqa !\.
\
r..
Shoulder
A character sitting at a desk. The character, chair and desk are usually parallel to each other.
You may draw round c,mers free hand, but trey will lmk sharper you I use an ovartemprate.
(6) \__/-.
be visible.
]0,
:1.0.r,0
wiil not
i
t
Draw straight from around this
.L
t_egs angle oui
Side view
slightly.
85
Vanishing point
rii:.
Horizon
The distance
character's feet
and that of the floor line.
{<
.')/, //,
R
lndicate the presence of a wall by drawing a shadow.
lraw
Give the wall a sense of presence by drawing shadows on both the floor and wall.
lraw a window
89
When you want to draw a room with a person sitting on the couch
Room plan
in hand.
Ceiling height
240-270cm
-*
270 cm 240 cm
160 cm 150 cm
80 cm
Side VIEW
1. Drawinq the
ite wall
@ Draw door so it
looks natural relative to the ceiling.
I'l
o The ceiling, floor and sidewalls are drawn using lines coming from the vanishing
. Draw a perspective line on the left and right walls that are the same height as
@ Determine horizon
and vanishing point based on the height of the door.
column:The perspective line that is the same height as the door acts as a guide for
determining the height of furniture. Drawing a perspective line with a distinct height is the key to drawing backgrounds in both indoor and outdoor pictures
the door.
90
I
,,
Draw a projection.
@ Draw thickness.
@ Draw shape.
Vanishing point
Determine the height of the couch based on the 150-cm wall line (same as height of horizon in this drawing). Determine the thickness from this,
92
l:al'r a projection.
Vanishing point
Determine height.
/, th the table against the wall, :;lermine the height of the table -:m the height of the couch.
@ Add thickness.
When drawing the legs, also draw the portions that will not be visible.
93
5. Drawinq a TV stand
Determine the thickness and width in relation to the couch drawn earlier (they do not have to be as exact as the depth and height).
Looking at the floor plan, draw it in Iine with the table, for instance. Completed drawing
Column:Draw indoor scenes using one-point perspective. (Two-point perspective is not used very often.)
/)
,,,
"'spective.
Use perspective for drawing objects when the edges of the table or desk visible.
Small objects on a table drawn using onepoint perspective each have their own vanishing point on the horizon line (they all share the same horizon line).
perspective, but objects on a table seldom use the same vanishing point as the table.
lncorrectly drawn When the top of the table and the horizon line are close, use an oval that looks like this.
Thin ovals Iook like are often used for long shots. Long shots are used for explanatory scenes with almost the entire body of a character and background.
lncorrectly drawn
When the top of the table and the horizon line are far apaft, use an oval that looks like .
Horizon
B@
0vals that are almost circles are often used for close-ups. Close-ups are used when you want to make a strong impression or you want to magnify something.
The farther away the circle is from the horizon line, the closer it becomes to being a perfect circle. Draw the bottom oval of cans, etc., round.
K/ \7
BB
98
Drawing small
,bfits--_l
I
When drawing small objects made up of squares, simply draw all vertical and horizontal lines parallel to each other.
Drawn using two-point perspective
ffi
ff$
The shapes of small objects will not look good if the vanishing point is not pretty far
away.
99
perspective when drawing beds. When drawing a character sleeping on a bed, think of the cubic effect of the person's
body.
,,9 "
Build a simple model when it is difficult to come up with the cubic effect of the mattress and person.
ballpoint pens and an eraser was laid down on a handkerchief mattress. Tissue paper was used for the covers.
100
101
When drawing open doors, place separate vanishing points for the frame and the
door.
/ffi
,'
\_v
@,,
l"
V
I
-\
\l+
r\, l /f-'+
I
#
I
l,'re 1\i
\
240 cm = 7.87 fi. 180 cm = 5.90 ft. 160 cm = 5.25 ft. 80 cm = 2.63 ft.
Determining door width . Start drawing the width ol the door from the side with the doorknob. o Make the width of a door drawn in
perspective slightly nanow.
_t
:Make the distance between the top of the door and the ceiling about B0 cm, which is about half the height of the character.
of the height and draw the door as seen from straight on.
No matter what the perspective of the door you want to draw is, make it look like this when you draw an open door.
door).
Draw an oval that passes through the apexes representing the corner of the door. (l-he oval path the door travels when opened.)
Draw the bottom door line indicating how far the door is
open.
Top of axis
opendoor
Door locus
Door
vanishing
,,'
f/
lil
Horizon
I
I
@
Vanishing point of open door
-r_
/=
The door vanishing
Upper vanishing
point
point is far
away.
--l
^ ,rrhlL
//
@ Draw width.
Like slopes, draw stairs using two vanishing points. ffhe normal eyelevel vanishing point and a vanishing
Vanishing point
line for determining step width. Width line comes from here
Stairs are drawn in one-point perspective using two vanishing points and two supplementary lines.
105
Loddng down a
-- .x
of there being
:::
t, i. i
-I
.' f}
/,
'.::'ral :* "r:eCtive.
l''0'iurnn You cannot see the horizon in a picture looking down a flight of stairs because of the composition of the picture.
107
view of stairs, there is no need for an inclination vanishing point. Just pay attention to the eye-level vanishing point and
horizon.
The angle of inclination of the handrail and that of the stairs are the same.
Difference in appearance depending on viewing location in relation to vanishing point Left of vanishing point
Difference in appearance depending on viewing location in relation to horizon Right of vanishing point
Above horizon
Chopter 5
Howto Drqvn
Bockgrounds
leoming by Doing
-1"
Let's say you have a name and a character for your manga. All that is left to do is draw the backgrounds. Let's take a look at the actual process of drawing manga backgrounds using perspective.
1'10
-::er *-
-:_rally draw the frame at the left or the top row first. s helps keep the page from
:;:ring messy.
Reference photograph
Vanishing point
= Draw
road.
lolumn: when drawing, mask the frames you are not working on with paper to keep them as possible. clean
as
111
Determine the height of the show window and other buildings by sliding the character over.
240 cm = 7.87 ll. 220 cm =7.2211. 200 cm = 6.56 ft. 190 cm = 6.23 ft. 180 cm = 5.90 ft. 160 cm = 5.25 ft.
200
cm
190 cm
220cn
180 cm 160 cm
Think of the street entrance of the building as being 2 meters high and the show window as being 2.4 meters high. Use the character as a guide when determining the size of the building, i.e., the height of the character plus number of heads.
r-
Slide the character to the right and determine the height of the vending machine, which will be used as the basis for
When there is a sidewalk, raise ffie dummy to the level of tie sidewalk.
180 cm
ft
180 cm
Reference photograph
m
Next is a school. There
Draw a character next to the school and determine the horizon and vanishing point.
O-t
Draw horizon at eye level (middle of ground{loor window). O-2 Extend sloping line in rough sketch to get vanishing point (point of intersection with horizon line).
300 cm = 9.84 ft. 280 cm = 9.19 ft. 180 cm = 5.90 ft. 1 60 cm = 5.25 ft. 120 cm = 3.94 ft. 100 cm = 3.28 tt. 90 cm = 2.95 ft.
/_y*,*
cm
will not appear In the picture, clearly draw the sudace where the character and the school come into contact to make sure they are balanced conectly.
Even if it
@ Draw contour
,i ;j
:
,
irjYi
i1 ;,
'3-._ I11
-*t"' i . -.."-{:"1a
I' I ai ll
1'
li
i. tti
I'i
./
ffi
I I t
ffi
H
ffi
-..-..-_.-il
---"'t.
The eaves, window and wall ratios of schools and other buildings are the same for each floor.
Side view
into four parts starting from the first-floor contact surface that is not visible.
Draw windows.
Clearly draw the overall window border (including parts not visible).
@-t
@-g Draw
supplemenThe depth ratio of windows is the same for every floor as long as the perspective is not from above. Thus, for the remaining windows all you have
tary lines.
@-4 Divide
each into
two (to
divide
window
116
into four).
Pen
drawing
vanishing point.
Masking tape
Thumbtack
4
fi
Lir
;:- i.- r"rg point, tape a thumbtack over the ;r-:il' ng point. Using a ruler with the '" - -:-ack as the axis makes it easier to draw
:::*
Not joining the edge line to the corner better creates the mood of a building.
118
tr
Z,
Think of perspective when determining tone cut.
-N
119
Adding tone
2- Residential area
+re
The page is complete after you have finished adding detailed tone! Soft touch: Use little tone.
124
\,
that you see around yourself 270 every day can all be used in your drawings. lt will be very helpful when drawing manga if you know the size 240
of objects around you. Remember the size of objects relative to the size of human beings (yourself).
Ceiling line
210
180
160
150
120
90 60
30
Desk
70-80cm
330 (10.83 ft.) 300 (9.84 ft.) 270 (8.86 fr.) 240 (7.87 tt.) 210 (6.89 ft.)
180 (5.90 ft.)
t
Height of first-floor About 3 m
90 (2.e5 ft.)
_-,60
I
(1.97 ft.)
ffilg'eft.t
122
Chest of drawers
Mattress height
30-40cm
Low traffic signs and signals. The signs are 3 meters (9.84 ft.) and tall signals can be 5 meters (16.4 ft.)
0r more.
123
124
E.
Chopter
Use of perspective
is not limited to buildings and backgrounds. lt can be used for anything that is pafi of a picture. That includes special effect lines and sound words.
il
il
J
H
E
U
Side
Front
The sword in this picture was drawn in perspective, but the sound word and special effect lines were not.
The special etfect lines (concentration lines) were drawn from the sword's vanishing point.
i,
^y
.:-t1
,l
rl
This sword was drawn with a vanishing point farther away and the special effect lines were drawn accordingly.
llo
fume of the contour lines of this sword were represented by ;anted lines pointed in the direction of the vanishing point.
SHHHHRRRRRR
perspective in
mind to make them look cool.
127
Special effect lines when the vanishing point is outside the picture. Draw them away from the vanishing point.
milld.
W
4t#
# wW
<*" ' *
Sound words do not have to be drawn perfecfly in perspective. Draw them in a deformed, perspective-like manner while thinking of depth and direction.
Minor {eehniquer
t':
-
'
:icture strictly
Vanishing point
- !,vo-point
'-\\
-; ,erlical lines
-rf existence and
:I-
Do not go to the trouble of marking a point. Draw a house assuming that the vanishing point is above
the house.
af,_
'.^y drafting techniques are used to draw manga, but :-:;;ing manga is not dratting.lf it is effective to do so, use :",ting techniques flexibly. For instance, you do not have to
-.= three-point perspective just because the vanishing point is '-,:ve the picture.
129
Perspective rulers
far away, so use the type that matches the angle or image you want.
Dedicated ruler
When you align the dedicated ruler that comes with it with the plate's curved surface, slanted lines and depth lines will converge on the vanishing point.
\.-\
lf you assume that one graduation is 20 cm, the graduations are designed so that the height of the horizon is 160 cm. Ceiling heights and room compositions are freely determined by choosing graduation positions.
t)
The two-point perspective ruler can be used as the basis of a one-point perspective background,
130
P
uil
----\
r: :. 3 graduations on
]tliirrcE
itive rulers to
Convenient tO
'tr'"r"'ill potential.
,,
i' : ,:(
.iut,r{
:El'spective rulers
', "':ru
-r:-r
a horizon line on
131
The horizon line is two steps down from the top of the stairs. The horizon line is oblique relative to the picture.
Simple one-point perspectiveall the artist did was tilt the horizon line.
The ground has been tilted. The buildings were drawn using vertical two-point perspective.
133
rffi
',f, irr ur [a ril rrl lt na lra arr tta ltr lrr lll
One-point perspective where the horizon was tilted and curved. Draw perspective lines and special
t
,/,
fr
@rc
us $1g.ee
l5BN4-7661
-1
258-X
COSTUME ENCYCLOPEDIA
lsBN4-7661
-1
2s7-1
HOWrc
tsBN4-7661
75-3
tsBN4-7661
-1
254-7
Gtr
-II[IflJil
'ililflffiIm|ilJt
1
II[il
ISBN t{ - thl-Ia5b-3
s7624099 HEALESVTLLE ........5962442s FTG ......._............... ... 9294 g2s4 g12O KNOX................_...... 9801 .1422 MONTBOSE ......... ... 9728 4224
BORONTA
al/i} L|LYDALE
4099
ROWVTLLE ............_.92941300 oHoYDON ._............ 9294 5640 RTNGWOOD ............ 9870 0177 BELGBAVE ......_...... 9754 7266
MOOROOLBABK . ... 9726 8200 MT EVELYN ............ 9736 3851 RANGES MOBTLE .. s7547266 VALLEY MOBTLE .... s2g4 3120 YARRA JUNCTTON 5967 1588