Drawing Manga Expressions and Poses

NEW YORK
This edition published in 2012 by:
The Rosen Publishing Group, Inc.

29 East 21st Street
New York, NY 10010
Additional end matter copyright © 2012 by The Rosen Publishing Group, Inc.
All rights reserved. No part of this book may be reproduced in any form without
permission in writing from the publisher, except by a reviewer.
Library of Congress Cataloging-in-Publication Data
Southgate, Anna.
Drawing manga expressions and poses / Anna Southgate, Keith Sparrow.
p. cm.—(Manga magic)
Includes bibliographical references and index.
ISBN 978-1-4488-4800-3 (library binding: alk. paper)
ISBN 978-1-4488-4804-1 (pbk.: alk. paper)
ISBN 978-1-4488-4808-9 (6-pack: alk. paper)
1. Face in art—Juvenile literature. 2. Expression in art—Juvenile literature.
3. Human igure in art—Juvenile literature. 4. Comic books, strips, etc.—Japan—
Technique—Juvenile literature. 5. Cartooning—Technique—Juvenile literature.
I. Sparrow, Keith. II. Title.
NC1764.8.F33S68 2012
741.5'1—dc22
2011012230
Manufactured in the United States of America

CPSIA Compliance Information: Batch #S11YA: For further information, contact Rosen Publishing, New York, New York, at 1-800-237-9932.
All other content copyright © 2007 Axis Publishing Limited, London.

CONTENTS
Introduction 4
Materials and Equipment 6
Female Figures 10
Male Figures 27
Female Faces 45
Male Faces 55
Expressions, Emotions,
and Character Types 65
Glossary 71
For More Information 73
For Further Reading 77
Index 79
INTRODUCTION
A
sweaty brow. A nervous smile. A wink of the eye. These
are all ways to use facial expressions to convey emo-
tion in a story. In manga, a great deal of information about
the action shines through in the expressions and poses
of the characters. Manga (mahn-gah) is a style of art that appears in
Japanese comic books and graphic novels. The style is unique: charac-
ters typically have large, pronounced eyes and slender, angular bodies.
Drawing manga is fun because it allows you to create any kind
of character you want. There really isn’t any genre or style of story
that manga hasn’t affected. What can be tricky about drawing
manga, though, are the facial details. But if you follow the step-
by-step directions in this book, you can ensure your characters’
eyes lash “determined” and not “depressed.” Eyes are crucial. For
instance, a sassy girl might have longer eyelashes when she’s trying
to win the attention of the school heartthrob. But when he turns
her down, you could draw dark rings around her eyes to show her
unhappiness. It’s important to remember that every character
you create can be truly unique when you add emotive lourishes.
A pose can also say a lot about the character you draw.
Suppose you have created a cool mech warrior deep-space pilot:
Does he stand up straight and take charge of every situation,
or does he slouch with his hands in his light suit pockets, waiting
for the action to come to him? Conveying movement in a static
image can be hard, but with practice you’ll be able to make sure
your character looks like he’s springing into action and not crouch-
ing scared. So grab your gear and get drawing!
4
5
MATERIALS AND EQUIPMENT
You do not need to spend a fortune to get started in drawing and coloring good
manga art. You do, however, need to choose your materials with some care to get
the best results from your work. Start with a few basics and add to your kit as your
style develops and you igure out what you like working with.
Artists have their preferences when it comes to equipment. Regardless of personal

favorites, you will need a basic set of materials that will enable you to sketch, ink, and
color your manga art. The items discussed here are only a guide—don’t be afraid to
experiment to ind out what works best for you.
PAPER
You will need two types of paper—one for creating sketches, the other for producing
inished color artwork.
For quickly jotting down ideas, almost any piece of scrap paper will do. For more
developed sketching, though, use tracing paper. Tracing paper provides a smooth sur-
face, helping you sketch freely. It is also forgiving—any mistakes can easily be erased
several times over. Typically, tracing paper comes in pads. Choose a pad that is around
24 pounds (90 grams per square meter) in weight for the best results—lighter tracing
paper may buckle and heavier paper is not suitable for sketching.
Once you have inished sketching out ideas, you will need to transfer them to
the paper you want to produce your inished colored art on. To do this, you will
Graphite pencils are
have to trace over your pencil sketch, so the
ideal for getting your paper you choose cannot be too opaque or
ideas down on paper “heavy”—otherwise you will not be able to
and producing your ini- see the sketch underneath. Choose a paper
tial drawing. The pencil
drawing is probably the around 16 lb (60 gsm) for this.
most important stage in The type of paper you use is also impor-
creating your artwork. tant. If you are going to color using marker
Choose an HB and a 2B
to start with.
pens, use marker or layout paper. Both of
these types are very good at holding the
ink found in markers. Other paper of the
same weight can cause the marker ink to
bleed, that is, the ink soaks beyond the
inked lines of your drawing and produces
fuzzy edges. This does not look good.
You may wish to color your art using
other materials, such as colored pencils
or watercolors. Drawing paper is good for
graphite pencil and inked-only art (such as
6
Working freehand
allows great free-
dom of expression
and is ideal when
you are working out
a sketch, but you will
ind times when pre-
cision is necessary.
Use compasses or a
circle guide for circles
and ellipses to keep
your work sharp.
Choose compasses
that can be adjusted
to hold both pencils
and pens.
that found in the majority of manga comic books), while heavyweight watercolor
paper holds wet paint and colored inks and comes in a variety of surface textures.
Again, don’t be afraid to experiment: you can buy many types of paper in single
sheets while you ind the ones that suit your artwork best.
PENCILS
The next step is to choose some pencils for your sketches. Pencil sketching is prob-
ably the most important stage. It always comes irst when producing manga art (you
cannot skip ahead to the inking stage). Make sure you choose pencils that feel good
in your hand and allow you to express your ideas freely.
Pencils are manufactured in a range of hard and soft leads. Hard leads are des-
ignated by the letter H and soft leads by the letter B. Both come in six levels—6H
is the hardest lead and 6B is the softest. In the middle is HB, a halfway mark between
the two ranges. Generally, an HB and a 2B lead will serve most sketching purposes,
with the softer lead being especially useful for loose, “idea” sketches, and the harder
lead for more inal lines.
Alternatively, you can opt for mechanical pencils. Also called self-propelling pencils,
these come in a variety of lead grades and widths. They never lose their points, making
sharpening traditional wood-cased pencils a thing of the past. Whether you use one is
entirely up to you—it is possible to get excellent results whichever model you choose.
ShARPENERS AND ERASERS

If you use wooden pencils, you will need to get a quality sharpener; this is a small
but essential piece of equipment. Electric sharpeners work very well and are also
7
DRAWING MANGA EXPRESSIONS AND POSES
Felt-tip pens very fast; they last a long time, too. Otherwise, a handheld sharpener is
are the ideal
way to ink
ine. One that comes with a couple of spare blades can be a worthwhile
your sketches. investment, ensuring that your pencils are always sharp.
A ineliner, Along with a sharpener, you will need an eraser for removing any
medium-tip pen
visible pencil lines from your inked sketches prior to coloring. Choose a
and sign pen
should meet all high-quality eraser that does not smudge the pencil lead, scuff the paper, or
of your needs, leave dirty fragments all over your work. A soft “putty” eraser works best,
whatever your since it absorbs pencil lead rather than just rubbing it away. For this reason,
style and pre-
ferred subjects. putty erasers do become dirty with use. Keep yours clean by trimming it
A few colored carefully with scissors every now and then.
felt-tip pens can
be a good addi-
tion to your kit, INkINg PENS
allowing you to The range of inking pens can be bewildering, but some basic rules will help
introduce color
at the inking you select the pens you need. Inked lines in most types of manga tend to
stage. be quite bold, so buy a thin-nibbed pen, about 0.5 mm (.02 inches) and a
medium-size nib, about 0.8 mm (.03 in). Make sure that the ink in the pens is
waterproof; this ink won’t smudge or run. Next, you will
need a medium-tip felt pen. Although you won’t need
to use this pen very often to ink the outlines of your
characters, it is still useful for illing in small detailed areas
of solid black. The Pentel sign pen does this job well.
Last, consider a pen that can create different line widths
according to the amount of pressure you put on the tip.
These pens replicate brushes and allow you to create
lowing lines such as those seen on hair and clothing. The
Pentel brush pen does this very well, delivering a steady
supply of ink to the tip from a replaceable cartridge.
Test-drive a few pens at your art store to see
which ones suit you best. All pens should produce
clean, sharp lines with a deep black pigment.
MARkERS AND COLORINg AIDS

Many artists use markers, rather than paint, to color their
artwork because markers are easy to use and come
in a huge variety of colors and shades. Good-quality
markers, such as those made by Chartpak, Letraset, or
Copic, produce excellent, vibrant results. They allow
you to build up multiple layers of color so that you can
create rich, detailed work and precise areas of shading.
8
Markers come in a
wide variety of col-
ors, which allows
you to achieve
subtle variations
in tone. In addi-
tion to a thick nib
for broad areas of
color, the Copic
markers shown
here feature a thin
nib for ine detail.
Make sure that you use your markers with marker or layout paper to avoid bleeding.
Markers are often reillable, so they last a long time. The downside is that they are
expensive, so choose a limited number of colors to start with, and add as your needs
evolve. As always, test out a few markers in the art store before buying any.
Markers are not the only coloring media. Paints and gouache also produce excel-
lent results, and can give your work a distinctive look. Add white gouache, which
comes in a tube, to your work to create highlights and sparkles of light. Apply it in
small quantities with a good-quality watercolor brush.
It is also possible to color your artwork on a computer. This is quick to do,
although obviously there is a high initial cost. It also tends to produce latter color
than markers or paints.
DRAwINg AIDS A selection of warm and cool grays

is a useful addition to your marker
Most of your sketching will be done freehand, colors. Most ranges feature several
but there are situations, especially with different shades. These are ideal for
shading on faces, hair, and clothes.
human-made objects such as the edges of
buildings or the wheels of a car, when your
line work needs to be crisp and sharp to
create the right look. Rulers, circle guides, and
compasses all provide this accuracy. Rulers
are either metal or plastic; in most cases,
plastic ones work best, though metal ones
tend to last longer. For circles, use a circle
guide, which is a plastic sheet with a wide
variety of different-sized holes stamped out
of it. If the circle you want to draw is too big
for the circle guide, use a compass that can
hold a pencil and inking pen.
9
FEMALE FIgURES
vIEw FROM AbOvE
Drawing views from above involves foreshortening, which is a way of showing

how the eye interprets distances in unusual perspectives. Here, the torso will be
dramatically shorter than usual, and the feet will be smaller to indicate the distance
from the eye. The character is looking up at the viewer so that the face will be clearly
visible. This makes the pose more dramatic.
Draw an egg shape with the Start to lesh out the body Note that there is no
chin facing off to one side. by adding a torso. Then draw neck visible from this
Use an ellipse and triangle in the arms, with elbows and angle. Now add facial
for the pelvis, lines for the hands. Complete this stage by features: large manga
legs and arms, and a circle drawing the legs, with knee eyes, eyebrows, a tiny
for the shoulder joint. joints, and feet. nose, and a mouth.
Add hair and ingers.
This time go to the next

stage and ink your drawing.
Choose the most important
lines to ink, and work care-
fully on top of the pencil
marks. You can use solid
black in some areas to give
Start to add clothing your drawing more impact,
details: the collar and such as the shadow under
sleeves of the shirt, the the chin, and her shoes.
ribbing on the sweater Add some ine lines to
vest and socks, and the indicate creases and folds in
skirt. Add her shoes last. the clothing.
10
FEMALE FIGURES
kNEELINg, LEANINg FORwARD
Drawing a igure with bended arms or legs can present a new challenge. This
character is kneeling down and leaning toward the viewer. Her weight is supported
by her outstretched arms and she is looking attentively with a slightly tilted head.
Draw an egg head, a curving Add the neck and Put in the facial features of
line for the back and ovals shoulders, then give her large eyes with eyebrows,
for the buttocks and thighs. a torso. Next give her tiny nose, and mouth. Add
Draw a curving horizontal arms, with hands on the long lowing hair, then start
out to the shoulders, and loor, then lesh out her to block out the darkest
lines for the arms. legs, and add a foot. areas of the drawing.
Ink all the main lines of the

drawing. Then ink the area When the ink is dry, erase the
of neck where the collar pencil lines. Color her skin pale pink,
sits, and the swimsuit. then give her some red hair, leaving a white
Leave some areas white highlight on each side. Finally use a mid blue
to add color detail later. for the areas of detail on the swimsuit.
11
STANDINg wITh ATTITUDE
As a graphic storytelling medium, manga relies heavily on body language to convey

the personality and moods of its characters. This manga girl is standing with her
arms folded and her weight on her back leg, with an arched back and slightly inclined
head, giving her a sulky, confrontational look.
Draw an egg-shaped head, Flesh out the arms and add a

then a center line. Bisect this torso by joining the arms and
and add circles for shoulder pelvis. Draw circles for the
joints and lines for arms. hip joints, then draw in the
Add a triangle for the pelvis legs. Add in large ellipses for
and stick legs and feet. the feet.
She is looking away to her Now work on the details Ink the main lines, then use
left, so give her pupils that of the clothing. She is solid black for the shadow on
are looking in this direc- wearing a itted cropped the neck. Ink in the cuff of a
tion. Add eyebrows, nose, top with a collar, tight glove, then use a ineliner to
and mouth, then give her jeans with a belt, and indicate folds in the clothing.
some shaggy cropped hair. large futuristic boots.
12
FEMALE FIGURES
SITTINg PRETTy
A sitting posture is an interesting challenge to a manga artist. Here is a girl in a

long demure dress, sitting attentively on a large footstool. Her hands are clasped
between her knees and her back is arched up, giving her an innocent air.
Draw an egg head and a curv- Join the head and shoulders, Now start to get
ing center line, then bisect and lesh out the arms. Give some detail into her
the line with a horizontal line. her a torso. Add lesh to the face and clothing. Add
Add circles for the shoulder top of her left leg by join- large eyes, a tiny nose,
joints and lines for the arms. ing the hip and knee joints. and a smiling mouth.
Draw an ellipse for the pelvis Add both lower legs and the Give her shoulder-
and circles for the knees. pointed feet. length straight hair
and spiky bangs. She
is wearing a itted
demure dress and
ballet pumps.
Use the signpen to color the

pumps. Then color her
Ink all the face, neck, the bit of
main lines of her face, igure, visible hand, and her
and clothing, then ink around legs pale pink. Use
the footstool, and block out the darker pink to create
shadow areas on her legs and the shadow cast by
on the stool legs. Color her hair, her hair on her face and
leaving white highlights on the neck. Finally use a bright
crown and on each side of her head. red to color her dress.
13
RUNNINg FAST
In this pose the straight leading leg is showing the speed of the girl’s movement,
and there is a slight foreshortening on the trailing leg. Note in a running stance how
the arms and legs operate on opposite sides, so if the left leg is forward, then the
right arm is also forward, and vice versa.
Draw a balloon-shaped head Flesh out the body. Add a neck, Give her eyes, a nose,
with pointed chin. Add a center work along the arms and ists, a mouth, and one ear.
line. Use circles for the shoul- then down the torso. Work Add spiky bangs and
ders, elbow, hips, and knees, down the nearest leg, adding tied-back hair. Create
and join with lines for the a running shoe, then lesh out the T-shirt and shorts,
legs and arms. Add simple ists. the back leg and shoe. add socks, and reine
the shoes.
Color her skin pale pink, and

Work around the igure, inking the blend in red-brown shadows.
main lines of the head, body, clothing, Give her bright blue hair, with
and shoes. Use the inking pen to add darker blue shadows. Add
folds in the clothing and socks. When blue-gray for the T-shirt. Finally,
the ink is dry, erase any pencil lines. color the shoes pink.
14
FEMALE FIGURES
RUNNINg LEAP
Here, a tough-looking action girl in a futuristic jumpsuit leaps into view. Her long
lowing hair trails behind her, giving a useful emphasis to her movement. Her left leg
is bent tightly forward at the knee, suggesting she has just used this leg to push off
from a point behind. The body is tightly compacted for light, except for the right leg,
which is stretched out ready for a landing.
Create an egg-shaped head Add some detail to the Next work on the facial
with pointed chin, then use body. Add the neck details, giving her large
a curved line for the spine. and lesh out the torso. expressive eyes with
Use circles for the shoulder Add the arms and legs, arched eyebrows, and a
joints, elbow, and knees, and making the top of the small nose and mouth. Use
a large circle for the hip. Add leg closest to you fairly a few simple lines to create
straight lines for the bent muscular. Draw in simply her hair, which is streaming
arm and both the legs. shaped hands and feet. out behind her.
Ink all the main lines

of your composition.
Then use the ineliner
to indicate some folds
in the clothing around
the elbow and knees.
When the ink is dry,
carefully erase any
Start to add some detail to pencil lines you no
her clothing, then use your longer need.
pencil to create areas of
shading on her top and cuffs,
and on the lashes on her
pants. Give her pumping ists
and shade these, too.
15
OvER ThE ShOULDER
A good understanding of the igure from all sides will be useful when tackling an
unusual pose like this. A beautiful but tough-looking girl looks back over her shoulder
toward you. Her weight is balanced evenly and her knees are slightly bent in case
a fast movement is necessary. The forward tilt of the head indicates a guarded
curiosity, as if she’s heard a noise behind her that might be a threat. Her outit is
feminine but practical, loose around the legs but with tight cuffs.
Draw an egg-shaped Join the head and

head with a pointed shoulder line to cre-
chin, and a curved ate a neck. Draw the
spine. Add circles curve of her visible
for the shoulders side, then lesh out
and elbows, and join the arms and legs.
with lines. Draw two Note that only one
ellipses for the but- hand can be seen.
tocks and a straight
line for the waist, and
join these to create
hips. Draw lines for
the legs and triangles
for the feet.
With the basic body Add clothing details.

in place, it’s time to She has a stand-up
add facial details. collar and sash trim
Give her large eyes, a over her right shoul-
button nose, and a der. Loose and lowing
tiny mouth. Add the below-the-knee pants
ear that can be seen, complete her outit.
then give her spiky
bangs and use a few
pencil lines to indi-
cate hair.
16
FEMALE FIGURES
MODEL bEhAvIOR
This character is striking a tongue-in-cheek modelling pose, as suggested by one

hand on the hip and the other playing with her hair. She’s coyly bending her left leg,
and she has a happy smiling expression with closed eyes. Note the small, pointed
ears, which are a feature on many manga characters, and give a slight fantasy air.
Long blazing orange hair completes the look.
Start with an egg shape for Flesh out the body, working
the head. Add a center line from the neck along the arms
and a shoulder line. Add and down the torso and legs.
circles for the shoulder, hip, Draw the ingers of her right
knee, and elbow joints, and hand on her hip.
lines for the limbs.
Ink, then color your girl.

Use pale pink for her skin,
leaving white highlights and
Get some detailing into Add details on the clothes. adding dark beige shadows.
her face. Her eyes are nar- She is wearing a cropped top Give her striking orange
row slits, and her mouth and shorts with white trim- hair, leaving a white highlight
is a grin. Add spiky bangs ming. Shade these lightly in on top. To complement the
and knee-length lowing pencil. Add shoes, and a orange, make her suit and
locks down her back. couple of bangles on her wrist. pumps acid green.
17
wALkINg ON AIR
Here is a simple but graceful pose, which can be used to indicate a happy carefree
mood or a free-spirited girl. Her expression is wide-eyed and smiling, and she has
one leg bent up at the knee and her arms stretched out wide on both sides of her,
as if she’s enjoying the breeze blowing over her. In manga a character can literally
defy gravity and walk on air if the mood strikes her.
Draw an egg-shaped head and a Start to lesh out the ig-

center line. Bisect this with a hori- ure. Give her a slim neck,
zontal line for the shoulders, and ovals for the shoulders,
two lines for the arms. Draw a and add the outstretched
triangle for the hips, ovals arms. Her waist is tiny,
for the knee joints, going into the pelvis.
and verticals for Add legs, and the foot
the legs. of her right leg.
Now add clothing. She is dressed majorette-

Add facial features: large eyes, a small style in a buttoned shirt with collar and
nose, and an open mouth. Give her epaulettes, shorts, and boots. Shade the col-
spiky bangs and lowing hair. Add her lar, epaulettes, shorts, and boots; only the
hands and outstretched ingers. cuff and foot of the right boot can be seen.
18
FEMALE FIGURES
SITTINg DAyDREAMINg
Nothing beats a quiet moment sitting and daydreaming. Imagine this manga girl
sitting on the grass on a cool summer evening. Her hands are clasping her shins and
she’s looking happily upward at the viewer, with her head tilted backward in an open
and relaxed pose.
Draw an oval head, two Create the basic proile. Her Make two parallel horizon-
circles for the two shoulder back is a curve: sketch one tal lines across her face and
joints and the hip, a rect- line joining both shoulder use these as guides for her
angle with a curved proile joints, and one from the chin large eyes and tiny ears.
for the torso, and straight down. Add the legs. Add a nose and mouth,
lines for the arms and legs. then lesh out the arms.
Start to ink your sketch,

concentrating on the most
important lines. Add more facial
detail, inking the pupils and
around the twin highlights in
each eye. Outline the
mouth and add
two or three tiny
vertical lines to
the nose.
Add spiky bangs, with a pony-
tail down her back. Then start
to indicate her clothing: she
is wearing a cropped top with
detailing around the neck and down
the front, and shorts with cuff detail.
Indicate the top of her boots.
19
wIELDINg A SwORD
Not all manga girls are shy and fragile creatures. Here is a good example of a
conident action girl who is ready for a ight with sword poised. Her stance is
balanced with legs apart for stability, and the long sash at her waist is used to give a
dramatic effect of movement and tension.
Draw an oval head, and Add lesh to your basic Work in facial features of
a center line down to a shape. Join the neck eyes, nose, and mouth. Add
triangle for the pelvis. Add and shoulders, then a spiky hairdo: continue this
lines for the legs, with ovals create a torso, with down to her waist. Draw
for the knee joints. Add oval trim waist. Add legs a sword in her hands, and
shoulder and elbow joints. and feet, then the arms. start to indicate clothing.
The outit has a bold

black-and-white pattern, so
minimal color can be used.
Add some light gray shadows
to the arms and legs to give
depth, then color her face
and neck a leshy pink, with
darker beige shadows under
the fringe and neck. Use an
orange for the pupils, and add
some pale mauve shadow to
Ink in the main lines of your her white hair. Add gold color
sketch. Then use a brush pen to the sword hilt, and a rich
to color in the black areas purple to the sash. Finish
of her costume: the itted top, and with some soft white pen-
the detail on the pants and shoes. cil highlights on the sash
There is an area of shadow on the and body, and some
skirt cape, and a fold in its band. blue-gray shadows
on the blade.
20
FEMALE FIGURES
DOwN ON ONE kNEE
A dificult pose to get right is kneeling down, which again requires a good knowledge
of your character’s body shape. Here is a warrior girl taking a moment of rest. She
is propping herself up with her traditional katana sword in its sheath, and surveying
the view. Her body is balanced with left knee up and the right on the ground, with
her right hand resting across the thigh.
Draw circles for the head,

shoulder joints, and one
visible elbow, with lines to
join the shoulders and for
the arms. Draw a curved
spine, and an oval for the
hip joint. The legs at this
stage are both angled lines.
Reine the proile of her

face, then add a neck.
Add a torso with a trim
waist, and two curves for Work next on her facial features.
breasts. Flesh out her left Give her large eyes with double
arm, adding an outline highlights, eyebrows, a snub
hand. Next lesh out her nose, and small mouth. Add her
legs. Both are bent at the right ear and lesh out her right
knee: the knee of her arm, adding ingers resting on
right leg is on the ground, her left thigh. Now indicate the
while her left knee is sword: this runs behind her hand
in the air, with her foot and down to the ground on a
steadying her. Indicate plane with her right leg and left
both feet. toe. Draw a line for the hilt.
21
Give her a hairband, and then

add spiky hair above it and
down her back. Now start
to get some details into
the clothing. Give her a
military-style jacket with
stand-up collar, fabric
The coloring is a dull,
closures, and decorative
military-style gray for the
lashes on the sleeves. Her
uniform, with bright yel-
pants also have decorative
low trim. Use a pale beige
lashes. Then add detail
for the skin, and a bright
to the sword.
green for her hair. Use
darker tones for shading
to give extra weight to
the igure.
Ink in the main lines of your sketch. Reine

the clothing details and add detail to the
boots. Create a rectangular pattern on the
sword. Next use black to color her pupils,
and create the shadow on her neck and on
the underside of the hilt.
22
FEMALE FIGURES
POPULAR FEMALE POSES
There are several poses that recur in manga time and time again, and it is worth
drawing these so that you can tell more of your story through your characters’ body
language, as well as through their faces and clothes.
below This pose is worried:

the girl is anxious and ner-
vous. Her knees are knocked
together and she is slightly
hunched over in a defensive
body position.
above This is a demure, submis-

sive girl in a Japanese kimono.
Breaking free of tradition and
leading the exciting life of a mod-
ern young woman is a common
theme.
above Here’s a girl who is running

away from something in alarm. She is
leaning forward and away from the
danger, while her eyes are glancing
fearfully back toward it.
right Under threat, this girl is poised

and ready to defend herself. Her stance
is resolute, with her legs set wide apart
and her arms crossed in front of her.
The hands are ready for action.
23
left Assertive, but not in the least

aggressive, this is a conident pose.
The girl is sitting in a comfortable
pose, looking happy and slightly
mischievous.
below With her feet planted

irmly on the loor, and her
hand brought up into a ist,
this girl has a gutsy air. This
is a common pose in manga,
designed to say, “I did it.”
right With ists at the ready

and iery hair, this is a feisty
pose. Even though she is wear-
ing a stylish dress, this girl is not
afraid to get her hands dirty.
left This girl has a wistful pose,

as if daydreaming. Her chin is
resting on her hands and her
knees are together with her
feet apart. She’s gazing into
the distance with a slight smile
and her eyes show a hint of
concentration.
24
FEMALE FIGURES
gALLERy
space walker
above You can tell this
girl is cute, even in a
space suit. The suit itself leaping into action
is designed to look femi- right This girl is jumping into
nine, but is still functional position with a staff at the
enough for a space walk. ready. Her clothing is cute,
but has the look of a military
uniform about it. Her expres-
sion is determined.
superheroine boiling hot

above Streaking through right Cowering from a
the air, this girl is on her way source of great heat, this
to right some wrongs. She girl is lushed and there
has a typical igure-hugging are drops of sweat falling
leotard with a cape, and has from her face. All the col-
long lowing hair to make her ors in this sketch suggest
more feminine. heat.
25
gALLERy
boxer
right Here is a sporty
character with spiky,
swept-back hair and
functional top and
shorts. Her boxing
gloves show she’s in a ight
and the athletic stance says
she won’t be a pushover.
magical girl freezing cold

above This is a happy below This girl is frost-bitten.
character: her smiling Her body is thin and she’s
eyes and broad grin hugging herself to try and keep
need a simple style warm. Her knees are turned inward
to empha- and the pale blue lines suggest she is
size her shivering.
personality.
schoolgirl
left This typical school-
girl with sailor-suit type
uniform is being surprised
by a cute little creature. She
has a sweet innocent look that is
enhanced by her stance.
26
MALE FIgURES
RUNNINg hEADLONg
With male manga characters, the body can be drawn in a slightly more forceful
pose. This example is a young male tearing full-speed into an aggressive position,
with ists clenched and head set forward. The leading leg is bent at the knee and is
curving outward in a dynamic lowing shape. The torso is nearly horizontal, which
emphasizes the onrushing posture.
Draw an egg-shaped head with pointed Add lesh to the torso, arms, legs,
chin. Draw three circles for the two and feet. Add ists to both arms.
shoulder joints and one visible elbow Draw in his left ear.
joint, and join with a curved line. Add
a curved line for the spine, and a
triangle for the pelvis. Add ovals
for knee joints and lines for
the legs.
Start to add facial features: large Ink the main lines using a thick
eyes and tiny nose and mouth. Give nib. Add some creases to his
him some spiky hair. Then start to clothes, then use black ink to color
add costume details. Give him a his pupils, the shadow under his
clenched left ist. chin, and his hair.
27
STRIDINg ALONg
This is a more relaxed pose, showing a teenager strolling along in a positive, carefree
manner. Remember to have opposite limbs leading, for example: left leg, right arm
forward. Both feet are in contact with the ground in this walking pose, with toes on
the right leg and heel on the left down, and his arms are swinging loosely by his sides.
Add a neck and shoulders,

then lesh out the arms.
Draw the legs, from the hip
joints down to the knee
joint: his left leg is in front
of his right and moving for-
ward. Add the lower legs.
Draw an oval head. Add a vertical spine.

Bisect this, and add circles for the shoul-
der and elbow joints with lines for the
limbs. Add a triangle for the pelvis, one
knee joint, and four lines for the legs.
Outline a circle logo and

white cuffs on his T-shirt,
then shade the rest.
Give him facial features: eyes Finally, ink over the main
with double highlights, and tiny lines, and add detail to his
nose and mouth. Add spiky pants and shoes.
bangs and simple hair. Add
hands, one open and one ist.
28
MALE FIGURES
STANDINg FIRM
Here’s a conident, no-nonsense pose for a young male. He’s standing tall and
straight, with arms folded but a slight tilt to the head, which indicates a cautious
manner. The legs are slightly apart, too, which gives him a solid, stable stance, as if to
imply he’s not about to be moved, no matter what happens.
Draw an inverted egg for the Start to lesh out the body. Add
head, and a vertical spine, a collar, shoulders, torso, and
with a triangle for the pelvis. the arms, one folded over the
Draw circles for the shoulder, other. Give him lared pants and
elbow, and knee joints, with simply shaped shoes.
lines for the limbs.
Add facial features and outline Ink all the main lines, then Keep the coloring simple. Use
the spiky hair. Create clothing use your black to color the pale pink for the skin of his
details: the V-neck, belt, and hair, leaving a white lash, face, neck, and hands, with a
lashes on the pants and top. and create shadow on the dark beige for shadows. Use
Add the soles of the shoes. neck and under the arms. a bright blue for his uniform.
Add detail on the knees.
29
RECOIL
This character is pulling back in alarm from some sudden threat or danger. The body
is leaning backward, and the leading leg is turned inward in preparation for turning
the whole body away. His left arm is pulled back and counter-balancing the sudden
shift in weight, and his casual suit is lowing away from the body to exaggerate the
movement.
Start to lesh out the body,

creating shoulders and
torso. Add one bent arm
and one straight, and legs.
Add basic shapes for the
arms and feet.
Create an inverted egg shape for the head, an

angled line for the spine, a triangle for the pelvis,
with circles for the shoulder and knee joints.
Add lines for the limbs.
Reine the proile of the face, and

add facial features: eyes, mouth, Now work up the clothing. He has a
and ear. Then give your character high-collared shirt, loose jacket, and baggy
a mop of spiky hair. Add ingers to pants with a belt. Add some detail to the
both hands. shoes on his feet.
30
MALE FIGURES
ATTACk AND DEFEND
As the saying goes, the best form of defense is attack, and here is an example of
a typical action manga character in a battle stance, shield up and sword poised to
strike. His rear leg is bent to brace his weight against attack and to enable him to
push forward quickly. He has turned his body side-on to limit the attack area, and
his face is set in an angry and deiant snarl.
Use an inverted egg

shape for the head, with a
circle for his right shoulder
joint. Draw a circle for his
left elbow joint with two
lines for the limb. Draw
a center vertical, then
obscure most of it with
the shape of the shield. His
right leg is a single line; his
left leg is a Z-shape with a
circle for the knee joint.
Next work on the details of

the face. Add big eyes with
double highlights and arched Now start to lesh out
eyebrows. His mouth is wide the body. There is a
open and his teeth are visible. little torso showing on his
Add a headband with a mass right-hand side. Add his
of spiky hair. muscular right arm and
clenched right ist in a
gauntlet. Draw his left
shoulder and the ingers
of his left hand, then lesh
out his legs, adding heavy
boots to both.
31
Start to add details. There

are several layers of clothing at
the neck, in addition to straps for
his backpack, and oval motifs on both
pant legs. Draw in the sword, and add
decorative details to the
shield.
Give your warrior

pale blue eyes and
acid green hair, with a
brown headband. His skin
is pink with a darker pink
in his open mouth. Color
his costume blue, working
over this in shadow areas to
Ink the main strengthen the color. Use
lines of your drawing a dark leather color for his
and indicate some backpack, then work the
creases around the boots, shield, and hilt in
knee of his left leg. Then use black shades of brown, honey, and
to create shadows at the sides of his yellow. Finally, add ice blue to
mouth and on the gauntlet on his left hand. the blade and gauntlets.
32
MALE FIGURES
COMINg AT yOU
Here is a pose that involves a dynamic body shape with some foreshortening to
emphasize the forward movement. The character is running full tilt toward the
viewer and letting loose with a lying punch. Note how the forward knee is curved
inward, and the trailing leg is smaller to increase the distance from the viewer. The
punching arm cuts diagonally across the body.
Draw an inverted egg Flesh out the upper body,

head with a vertical line adding arms and ists, and the
down to a triangle for the torso. Add eyes and eye-
pelvis. Draw ovals for the brows, with a small nose and
elbows, shoulders, and mouth, then draw a crown of
one knee joint, with lines spiky hair.
for the limbs.
Add his legs; one is

drawn from the hip to
the knee joint and has only
a foot visible. This obscures
the full-length right leg.
Lightly shade his hair and
shorts.
Use a thick nib to ink the main lines. Then color the
shorts and hair black. Create a round neck and sleeves
for his top. Finally, create a six-pack on his torso.
33
wIDE POwER STANCE
An altogether different stance is this squatting igure with outstretched arms

and wide open hands. The igure is dynamically low to the ground and almost
symmetrical in its stability. The outit suggests a street ighter of some sort, and his
stance could be a delective one, or he could be getting set to unleash some kind of
power blast from his open palms.
Bisect an inverted egg Create wide shoulders Add facial features: here, slit
head with a curved and muscled arms, then eyes and an open mouth.
line and add triangle a muscular torso down Add ears and a simple spiky
hands. Add a short to the waist. Clothe the haircut, then indicate wrist
line to a triangle pelvis, leg lines with baggy pants and belly wraps. Add a
then add legs and feet that hang in loose folds. sash and kung fu slippers.
in an inverted Z-shape.
Ink all the main lines of the sketch. Create Color his skin pale pink with a darker
detail on the palms, and then indicate shade for the open mouth. Give him yel-
lots of folds on the bottoms of the pant low hair, gray-brown pants and slippers,
legs to get some movement here. and a bright red sash.
34
MALE FIGURES
FLyINg PUNCh
The igure in manga can often be graceful and balletic, such as this lying punch
pose. It’s drawn in proile to get the most out of the action. His clothes are simple
and designed for combat, and he’s barefoot and bare-armed for an austere, focused
appearance.
Draw an oval head with a Flesh out the torso, arms, Add a lion’s-mane
vertical line down to a circle and legs, all of which are hairstyle, shaggy on top
knee joint, and add a line for muscular. Then, give him with a ponytail down
the lower leg. Add an oval a ierce facial proile with his back. Then draw a
pelvis, a circle and two lines feline nose and open mouth. clenched ist on his left
for the leg, and a line and Add an eye and eyebrow, arm, and ingers on his
six circles for his shoulder, together with an ear. right hand.
elbow joints, and ists.
Color his skin using

pink and beige, building
shadow as necessary.
Make his suit red, with a
white highlight on his
left thigh. Finally,
color his hair in
two shades of
blue.
Ink the main lines,
adding costume
details, including torn edges to his shirt
and pant legs. Use black to create wrist-
bands, and shadows on his hair and leg.
35
ThREAT bEhIND
Another type of action pose is this igure, who’s turning to face a threat from behind.
His long, spidery legs and arms are typical of many manga characters. His weight is
balanced evenly between both legs, and his left arm is raised defensively to counter
a blow.
Start with an oval head, Flesh out the head and body. Next add clothes to the
circles for the shoulder The face is in proile: give him body. He is wearing a
joints, and lines for the a bushy eyebrow, an eye, nose, T-shirt, open jacket with
shoulders, arms, and and mouth. He has a shock of high collar and patch
spine. Add an ellipse hair and a pumping ist. details, and tight pants.
for the hip with lines Draw in his pointed boots.
and circles for the legs.
Now color your

igure. His face and
hands are shades of
pink, and his clothes
are shades of brown
and gray. Color the
Begin inking. Go patches on his sleeves
over all the main yellow.
lines of his face, body, and
clothing. Include the creases
in his clothes. Ink his eye and
eyebrow and his black hair.
36
MALE FIGURES
jUMPINg FOR jOy
Not all manga males are grim ighters. This boy, for example, is a gleeful youth,
jumping for joy. He’s wearing simple clothing of a T-shirt and jeans, and carrying
a backpack, which suggests he’s on his way to or from school. The head is drawn
larger in relation to the body, which makes him look younger, and his arms and legs
have an elastic quality, which gives a more cartoony feel.
Detail the face, which

is dominated by the
huge open mouth with
broad lips. His eyes
are simply closed slits
with eyebrows. Draw
his ears and give him a
spiky short hairstyle.
Draw a round head, a vertical center

line, a line for the shoulders with circles for
the elbows, a broad ellipse for the pelvis, with
circles and lines for the knee joints and legs.
Add lesh to the bones, and

give the character some
clothes. The shirt is loose and
has short sleeves. Draw arms Finish your sketch by giving him pants and shoes, and
and legs, and simple shapes leshing out the arms and hands. As a inishing touch,
for hands. add the straps of a backpack, and shade them.
37
CREEPINg AROUND
Here’s another example of a more cute and cartoon-style igure. This character is
peering nervously around a corner. His body is bent forward with his weight on the
front leg and his left arm cautiously out in front. The igure is supported on the toes
of his right foot, and his rear arm is tucked in behind. The eyes are wide open as he
peeps around, and his manner suggests someone creeping.
Start with an oval head, with Add details for the face. The Now add clothes to the
circles for the shoulder, elbow, eye is large, featuring a pupil lines of the body. He is
and hand. Join these with a with a highlight. The nose is wearing a loose hoodie
curved line. Add an ellipse for small, and the mouth expresses and jeans, which are
the hip, circle for the knee, determination. Give him lots baggy below the knees.
and lines for the leg and foot. of spiky, cropped hair, outline a Add large ingers to his
highlight, and add an ear. hand, and a sneaker on
his foot.
Ink your sketch.

Outline his facial
features, hand, and
clothing. Also ink the
corner of the
wall. Then, using
a thick-nibbed
His right leg needs to be inking pen,
added now. This is bent back, and leaving the
and also has a jeans leg and highlight white, ink
sneaker. Finally, at this stage, indicate his hair and an area of
the corner of a wall: he is looking shadow on his tummy.
around this.
38
MALE FIGURES
PUNChINg AT yOU
This is an unusual pose for a manga story, as it is reminiscent of the mainstream

superhero characters in Western comics. It is a useful pose and worth practicing.
The character is lying or leaping toward you with ist outstretched. His outit is
skintight superhero-style.
Draw an oval head and a Add the basic shape of Next add the facial
center line, bisected by the arm, then position the details: large eyes with
a horizontal line for the ist: this is the focal point double highlights, button
shoulders. Add circles of the sketch. Flesh out nose, and small mouth.
for the shoulder joints, a the body, then clothe the Suggest a hairline. Then
triangle for the pelvis, and legs and suggest feet. work up both hands,
lines for the legs. including the ist.
Use honey and

maroon to create
his clothing. Leave
areas of white highlight on
his pants to suggest they
are made of a shiny fabric.
Ink the main Leave white areas on
lines of the ig- his punching ist and
ure. Then use black to create around his collar.
shadow under the neck, on the Color his face pale
ist, on his right arm, and on his pink.
feet. Add his eyes, and hair, with
a highlight.
39
hEROIC POINTINg
Another heroic igure, this one is adopting a classic pointing stance. His shape is
compact and muscled, as a ighter would be. His right leg is standing braced up on a
rock incline, which helps to create a dramatic pose. The outit is a sleeveless leotard
with waistband and headband.
Start to detail the head, giving

your character large eyes, and
a small nose and mouth. His
hair is a spiky crop, held by a
band. Then lesh out the torso
and arms.
Outline the igure using basic shapes: an

oval for the head, shoulder, elbow, and knee
joints. Add a triangle for the pelvis, then join
all the joint lines.
Outline his clothing: a tight-

itting cropped tank top and
tight pants with ankle cuffs.
Shade these, then shade his
headband. Finally, add shaded
wristbands.
Next lesh out the legs and

feet, which are wide apart. Then
add hands. His left hand is pointing,
so detail the index inger, and then
the other, closed ingers.
40
MALE FIGURES
NOThINg DOINg
A static but powerful pose, this one is useful for situations in which the character
needs to stand his ground. The legs are wide apart and ramrod-straight, making a
basic A-shape. The arms are folded to present a closed front, and his head is cocked
slightly to one side, as if in challenge.
Draw an oval head, add a Make a line for the eyes Work on the clothing.
center vertical line, then and add them, then sketch He has a tight jacket with
bisect it with a line for the his face with a pointed a high collar, and tight
shoulders. Add shoulder chin. Top this with spiky pants that are baggy
and knee joints, a trian- hair. Add lesh to his folded around the knee where
gular pelvis, and lines for arms, torso, and legs. they it into boots. Add
arms and legs. a crossed belt.
Color his T-shirt black, then

color your igure’s head
pink. Give him red hair. Use
gray for his suit. Finally add
yellow details on his suit,
and color his boots yellow
Ink your sketch, adding fold lines
with brown shadows.
on the sleeves and pants. Accent
the foot of the boots. Then add
shadows around the collar, under
the folded arms, and on the boots.
41
FALLINg CAT-jUMP
This is a dramatic posture, showing a young, athletic ighter falling from above. His
arms are raised like a cat, and the shoulders sit high in line with the head to give
power to the pose. The legs are split: the right is stretched out ready to land and
the left is folded for aerodynamic shape.
Start with an egg shape on Create arms and lesh out He is wearing a loose
its side for the head. Draw the torso. Draw his left leg top with tight cuffs and
one circle above this and one from the hip to the knee joint, swinging toggles, loose
below for the elbow joints, with then out to the shoe line. pants that bunch down
lines for the arms and a circle Add a shoe. Draw his right leg his right leg, and martial
for his ist. Add a large oval for behind the left. Add his facial arts slippers. Draw a
his hip. Draw circles for his knee features, then give him some sash around his waist,
joints and lines for legs and feet. spiky hair. Shade this. folds and creases in his
clothing, and then draw
clenched ists.
Now use a combination

of pink for his skin and
dark beige for shadows
Ink the on his face, hands, and feet.
main lines, Use a fresh apple-green to
including the creases in his color his top and toggles,
top. Then use black to color then use a blue-gray to tone
his pupils, his hair, and his pants. Leave down the highlights on his
white highlights down the front of pants. Finally add a little pale
both legs. Color the shadow under gray to his sash to indicate shadows.
his chin and his slippers black, too.
42
MALE FIGURES
gALLERy
speeding at you
right With a igure
that is running like this
one, you can enhance
the sense of movement
by adding speed lines.
subtle
above Coloring can be
subtle and still effective.
Use cool, dark colors for
jackets and trousers, then
add some bright touches,
such as red for a T-shirt.
well held
above Add to the
unrufled dynamism of a leap
right This character is calm, into the air by adding
conident, and fully aware of whoosh lines around
the turmoil he is causing to the arm.
all the young girls around him.
43
full of joy raging

left This character is below Body lan-
overjoyed, as evidenced by guage can show how
the huge grin from ear to a character is feeling.
ear and the jumping igure. This one is in a rage,
The whoosh lines magnify with clenched ists
the action. and lushed cheeks.
with a pet
left Cute pets are common
in manga, and this character
is delighted to be playing with
his friendly puppy.
44
FEMALE FACES
LOOkINg UPwARD
This face is looking upward at an angle to the top left. You can see the ears are lower
with respect to the eyes, and the pupils are raised to the top part of the eye to give
a line of vision in that direction. The sharply drawn eyebrows indicate concern and
anxiety, while the open mouth suggests she is calling or shouting out.
Draw an oval head, and bisect it Sit the pupils on the horizontal line. Add
horizontally with a curved line nearer large eyes with double highlights. The
the top. Bisect it vertically with a curve visible ear comes from this line, too. Sit
nearer to one side than the other. Add the nose and mouth on your vertical line.
the neck.
Next add the hair. This is short and Outline an area of highlight on each of
spiky. Create three pieces for the bangs the bangs. Finally, loosely shade the hair,
and front of the hair, and then draw the using a very soft pencil, and shade inside
rest of the hair, starting from the crown. the mouth.
45
bATTLE CRy
This is a powerful face with mouth open in an aggressive cry, shown by the downturn
at the corners of the mouth, and the heavy black eyebrows pointing down to the
center. Strong black lines around the eyes increase the intensity of the expression.
Her left shoulder is raised and pulled across her face slightly, which suggests she is
preparing to deliver a blow.
Start with a pointed oval. Bisect it Draw the large eyes with three areas of
horizontally and vertically. Create a highlight, and add arched eyebrows. Add
curve for the front shoulder, a verti- the ears and a small nose. Then draw the
cal line for the neck, and a curve for large open mouth.
the other shoulder.
Add the spiky proile of the hair

inside the oval. Then give her a Ink all the main lines, including the folds in the
long ponytail with a licked end. clothes. Then use black to color the hair
Outline a couple of highlights. and the pupils. Finally create the shadow
Then indicate the clothing. inside the mouth and under the chin.
46
FEMALE FACES
SMOLDERINg FRUSTRATION
Here’s another angry expression—this time the face is pointing downward and the
eyes are looking angrily up, to give a feeling of barely controlled frustration. The eyes
are narrowed and her cheeks are lushed, with the mouth a tiny oval. The sloping
hair accentuates the forward tilt of the head.
Start with an egg shape Add the features, starting Give the head some hair
and bisect it horizon- with the eyes with double next. Work spiky bangs
tally and vertically to highlights. Add arched eye- from the top of the oval,
help with positioning the brows, then the one visible and continue it outside the
features. Add the neck, ear. Add a pert nose and a edge of the face. Then add
and bisect this, too. tiny open mouth. the long locks.
Ink all the main lines, including

the areas of detail on the hair. Color her face pale pink, using a darker pink for
Use a ine pen for the nose the lush in her cheeks, in her mouth, and under
and mouth. Then color the her chin. Give her blue pupils and a mass of
pupils black. yellow hair.
47
ICy gLARE
The face here is that of a cold-hearted person, with an icy stare. The dark, narrow
eyes and the thin closed lips mean nothing but trouble. The chin is a sharper point
than that of most females, which gives a meaner feel to her face, and the cascading
black spikes of her hair are almost spider-like.
Draw a circle, then Start to add features, begin- Add in the two lines of a hair-
bisect it vertically. ning with the eyes and arched band across the head, then add
Continue this line eyebrows. Give the igure a the bangs out from this. Then,
down, then sketch small nose and a cupid’s bow working from the crown, add
two lines to form a mouth with a sardonic smile. the mass of spiky hair.
V-shape at its base:
this will be the chin
of the character.
Ink the main lines of the face,

and the upturned collar. Use a Now add color. Here the face is pink, with darker
ine pen for the nose and mouth. shadows on the sides and under her chin. Make
Then use black to color the hair her hairband bright green and her top purple.
around the areas of highlight. Finally give her red lips.
48
FEMALE FACES
bAby FACE
Faces can be a good way to show the age of a character. This face is small and wide,
so it makes for a younger look. The features are close together in the middle of the
face, like a baby’s, and she has a petulant expression, with an open, sulky mouth and
arched eyebrows.
Draw an oval, with a Start with the eyes, using Now add hair. Make
pointed end. Bisect this your curved horizontal as this a short, spiky style,
with a curved horizontal their base. Outline the pupils with chunky bangs and
and a curved vertical: these and give them highlights. off-center part. Outline a
will help you to position Then add arched brows. Use highlight and a clip on the
the facial features. Then your curved vertical to posi- hair. Then add eyelashes.
add a short vertical to tion the nose and mouth.
indicate a neck.
Ink over the main lines,

using a thick nib for the
outline, hair, ear, and eye Use shades of beige for the face, with darker shades
and eyebrow. Use a thinner for the shadow areas under the bangs and chin.
nib for the nose and mouth. Color the pupils honey, then give the igure red hair
Color the pupils black. with a yellow clip.
49
SAD CONTEMPLATION
This face has a mood of calm but with a sense of unhappiness, indicated by the
tightly closed lips and the lightly drawn eyebrows. Her eyes are closed, as shown by
the under-arching black lines and the eyelashes, and her hair falls lifelessly down and
is a somber white color.
Start by drawing an oval, Use your horizontal line Add the hair next. Use the
and bisect this with a verti- to position the closed top of your oval as the line
cal line. Draw down to this eyes and the ears. Add to start your bangs, which
line to make a chin. Then eyebrows, then use your are a few thick chunks.
bisect your circle with a vertical line to position the Then create the proile of
horizontal line. slightly snubbed nose and the rest of the hair.
thin mouth.
Finally add some

color. Use pale
pink for the skin,
with dark beige for
shadow areas in
the ears, under the
bangs, around the
Now ink all the main lines. nose and mouth,
The eyelashes are one of the and under the chin.
dominant features, and the Then use a cool gray
rest of the face and hair is to add shadow to
deliberately kept quite simple. the hair.
50
FEMALE FACES
DREAMy LONgINg
Another closed-eye expression, this one having a wistful, dreamy quality. The head
is tilted back and slightly to one side, and the eyebrows are sloping upward. The
corners of the mouth are turned up in a hint of a smile. Note the low position of the
ear, which emphasizes the angle of the tilt of the head.
Start with an off-center Position the main features along Create spiky bangs with
oval as your basic your bisecting lines. These four or ive bold points,
shape. Bisect this hori- include the eyes and the visible then add the proile of
zontally and vertically ear, together with the nose and the rest of the hair, giv-
with curved lines. mouth. Add eyebrows. ing it short spiky ends.
Color the skin pale

pink, with dark pink
for the shadow in the
Ink over the main lines of the mouth, under the bangs, and
face and hair. At this stage, under the chin. Then, leaving
add highlights in the hair to the highlights white, give her
leave white later. blue hair.
51
UNwELCOME SURPRISE
This face has a look of startled alarm on it. The eyes are wide open and slightly
downturned. The mouth is also down at the sides, which tells the viewer that the
surprise is undoubtedly an unwelcome one. The hairstyle in this case frames the
startled eyes nicely, and draws the viewer’s attention to the face.
Start with an oval, then Add the main features, start- Next give the head
work a couple of lines down ing with the eyes. These are some hair. Start this
to a smooth pointed chin. wide open, with lots of white higher than the basic
Bisect this oval with curved around the pupils. Add a tiny oval, and keep the lines
horizontal and vertical lines. snub nose and an open mouth. smooth and lowing.
Ink the sketch. Outline the

face and its features, as
well as the hair. Use black Finally, color the sketch. Give your igure pale pink skin,
to outline the eyes and to with beige shadows under the bangs, along the right-hand
color the pupils, which jawline, and under the chin. Then give her auburn hair and
have a highlight. pale green eyes.
52
FEMALE FACES
hOPEFUL STARE
Some expressions can be extremely subtle, and these are needed in manga comics
where the stories can be complex. The face here is staring head-on at the viewer
and shows a hint of hope. The eyes and eyebrows are fairly noncommittal, but the
mouth is key. A slight upturn at the corners is hopeful, whereas a slight downturn
would change the expression to slight despair.
Draw an oval, then work a vertical line Add the facial features. Position the eyes,
to bisect it. Draw two curving lines with double highlights, and ears on the
down to a pointed chin on the vertical. horizontal line. Work a small nose and
Finally for this stage, draw a curved mouth on the vertical line.
horizontal line.
Then add the hair: keep this Using broad pencil strokes, shade in the hair
fairly simple. Outline a jag- apart from the top, which is left white. Reine the
ged highlight across the top. color in the pupils, then add shading to the neck.
53
hAPPy ExPECTATION
Here is a more positive expression of happiness. The head is turned to a three-

quarter angle and is gazing up into the sky. Her eyes are large and healthy-looking,
and she has a cute rounded girlish face and features. Her red hair and girlish pigtails
emphasize the happy-go-lucky and easygoing expression.
Start by drawing a Draw another hori- Add eyes with Position an ear across
circle, then bring zontal parallel to, double highlights the horizontal line.
lines down either but higher than, the across your Then add spiky bangs
side to form a soft irst. Also draw in a horizontal line, by drawing in some
chin at the bot- curved vertical line and draw eye- broad V’s. Add some
tom right. Indicate to bisect the face. brows. Use your tufts of hair to the left
a vertical line for vertical line as a and right of the head.
the neck. guide for position-
ing the nose.
Next add pigtails, held Use a ine pen to ink over Color your sketch. Use pale pink
in place with bobble the main lines of the face for the skin, with a darker shade
details. Outline an area and hair. Working around in the ears and on and around
of highlight on top of the highlights, color the the chin. Give the head bright
the head. pupils black. red hair, with green bobbles that
secure her pigtails.
54
MALE FACES
LOOkINg-DOwN TILT
This head is gently tilted away from the viewer and looking down with a wry smile.
Notice the relative positions of the eyes, and how the hair is falling down in a line to
follow the tilt. This character’s mouth is closed, with a slight upturned smile and a
small shadow under the bottom lip to create a slight pout.
Draw a circle, then add a Add a curved horizontal line, On the same line as the
triangle to make a pointed then position the eyes on this eyes, add the ear. Then
chin. Add a curving line for line. Add eyebrows, then use add the mouth under-
the neck. the bottom of your irst circle neath the nose.
as the line for the nose.
Draw spikes of hair, working

from the crown and across
and down to make bangs.
Using a soft pencil and broad strokes, start to shade
the eyes and eyebrows. Flesh out the mouth, then
shade the spikes of hair, leaving the crown white.
55
jOyFUL ShOUT
Here’s a more animated face, with bright smiling eyes and an open mouth. A hint of
the upper teeth helps to give an impression of laughter. This face has soft, youthful
curves, which give the character a younger personality.
Start with a circle, Bisect your oval Use the horizontal Give your character
then draw a tri- both horizontally line to position the spiky cropped hair,
angle to create a and vertically to eyes, with dual high- working a jagged line
pointed chin. give yourself guides lights, and also the across the forehead,
for positioning the one visible ear. Add and then spikes from
features. a button nose and the crown.
open mouth.
Ink the main lines, Color the face pale

outlining an area of pink, with a darker pink
highlight in the hair. inside the mouth.
Then color the Then make the area Finally, add shadow inside the ear and
pupils and eye- of hair outside the under the chin, then color the white
brows black. highlight black. highlight in the hair brown.
56
MALE FACES
DISMAy
This boy looks really down in the dumps. The eyebrows, eyes, and mouth are all
pointing down, and the eyes are wide open and staring. The mouth has dropped
to a low position on the face, and there are double lines underneath the eyes to
suggest wrinkles. The hair emphasizes the look by falling straight down in strands.
Start with a circle, then Draw the eyes, adding a double Add a tiny nose, then
draw a triangle down highlight in each. Then add eye- add an open mouth.
to make a pointed chin. brows. Add ears to the same Reine the ears.
Add a vertical line here. line as the eyes.
Create a spiky hairstyle by

working bangs, then start from
the crown and work to left Ink all the important lines, then use black to color
and right. Outline a highlight the pupils, except the highlights, and the hair,
across the top of the hair. again leaving the highlight white.
57
PROFILE wITh FOCUS
Here’s an example of how positioning and angle can give meaning to a face. Although
this is a normal proile view, the forward angle of the neck and narrowed eyes lend
an air of intent to this red-headed male character. The nose exaggerates this by being
a sharper point than usual, and the loose hair dropping vertically frames it nicely.
Start with a circle, Create the proile Add the eye and Now add hair. Start
then draw two by making an inden- eyebrow, based from the crown and
lines to come to a tation for the eye, on your horizontal work in both direc-
point for the chin. and adding a snub line. Use this line tions. Outline an
nose and slightly as the midline for area of highlight on
open mouth. the ear. the top.
Ink the outline of the Introduce some color, Finally, add more detail to the
face and hair. Ink the using a lat pink for the color. Create shade under the chin
eye and the eyebrow, face and bright orange and under the bangs. There is also
as well as the ear. for the hair. an area of shadow in the ear.
58
MALE FACES
ExASPERATION
You can make your character more masculine by having a wider, squared-off jaw and
a broad neck. This face could belong to a muscle-bound hero or villain. His head is
topped by a hard-looking hairstyle, and his eyes are ringed by heavy black linework
and severe eyebrows. The pupils are small black circles, which give a cold touch to
the face.
Start by drawing a circle Deine the shape of Draw a vertical center line
for the head, then draw the head a little more, and a curved horizontal
two lines down, and one squaring off the top line to help position the
horizontal line to square and the jawline. features. Add the large eyes
off the chin. with small pupils, knitted
eyebrows, and the nose.
Around the existing

proile, add in the
hairline. Then using
broad strokes with
a soft pencil, shade
Add the ears, positioning this in. As a inishing
them on your horizontal line. touch, reine the shape
Then add the mouth. of the mouth.
59
CONFIDENT SMILE
This character has an intelligent, knowing smile on his face. The head is tilted slightly
down, so he has to look through his fringe, which makes him look slightly sinister.
The eyes are almond-shaped with dark lashes, and he has long, slender, arched
eyebrows. His mouth has the smallest of dimples on one side, which can be used
to denote a smirk.
Start by drawing Add curved hori- Outline the Get some detail into
a circle, then add zontal and vertical eyes, then add in the eyes by working the
two lines to cre- lines to help with eyebrows. pupils, leaving a double
ate the proile of positioning the facial highlight in each one.
the chin. features. Then add the nose.
Ink all the main lines,

Next add some hair. making sure that the Make his face pale pink, with
Make this a short, bangs sit on top of the browner shadows beneath the
spiky style, and indi- eyebrows. Color the bangs, in the ear, and below the
cate a highlight across pupils black, except for chin. Then, working around the
the top of the head. the double highlights. highlight, color the hair black.
60
MALE FACES
ALARM CALL
Looking up and across in alarm, this face is dramatic and engaging. The upturned
angle gives the character a vulnerable look, and the small lines on each cheek suggest
a lush of anxiety. Small pupils in the center of the whites of the eyes accentuate the
look of fear on his face.
Draw an oval to start Create a horizontal Add an ear, using the

the basic head, then and a vertical center horizontal line as a guide
add two lines to make a line, then outline eyes to positioning. Then add
point for the chin. on the horizontal. Add an open mouth.
eyebrows and a nose.
Now add a mass of spiky hair. Work Ink your sketch. Break the lines of the
from the ear across the forehead to cre- eyebrows so that the bangs sit on top
ate bangs, then add spikes on top of the of them. Add shading details to the
head. Draw in the pupils. cheeks and inside the mouth.
61
gOOFy gRIN
This is a dificult but very effective expression. A grin can indicate embarrassment
when coupled with heavy-lidded eyes and lushed cheeks. Note how the teeth are
shown clenched in a forced and unnatural manner, and the eyebrows are rising in a
hopeful way.
Draw a circle to Bisect the head Start with the eyes, Now draw the
start with, then with a vertical line adding pupils with nose and mouth.
add two lines and a horizontal line double highlights. The mouth here is
to make a point to help you to posi- Then add eyebrows. large and open, and,
for the chin. tion the features. unusually, has clearly
deined teeth.
From a center line Ink all the important Use pale pink for the face, then
draw two uprights, lines of the sketch and add shadow with a dark beige
then create two areas color the pupils black. under the bangs, in the ear, and
of spiky bangs. Add Then use black to create under the chin. Leaving white
hair to the top and the darkest area of hair. highlights, color the hair blue.
back of the head.
62
MALE FACES
gRIEF AND MISERy
Some days are better than others, and this shows one of the bad ones. This face is
creased and crumpled with crying. The tears streaming from his tightly closed eyes,
and the grimace on his mouth show this character is suffering. Tears can be drawn
rolling down the cheeks to the chin for maximum effect.
Draw a circle, then add To help with positioning Start with the eyes,
two lines coming to the features, bisect your even though these are
a point to create the head with a vertical and squeezed shut. Draw
shape of the chin. a horizontal line. them as curled lines,
then add the eyebrows.
Next add the nose and Then add the visible Create the tears com-
mouth. The mouth is ear, and use this to ing from his eyes. Finally,
open and the teeth help you to add spiky leaving areas of white
are visible, although cropped hair. highlight, lightly shade
undeined. your character’s hair.
63
REALIzATION DAwNS
This character has just realized his mistake and feels a deinite sense of chagrin
about it. His deadpan expression and dilated pupils make him look stunned, and the
position of his mouth, represented by a narrow downward-curving line, enforces
his dismay.
Begin by drawing Create a horizontal Use the same hori- Add a headband,
a circle, then add a line for the eyeline, zontal line to guide then work spiky
U-shape to create then add large, you in placing the bangs from this right
the line of the chin. open eyes with a ears. Then add a small across the forehead.
small circular pupil. nose and small, thin,
down-turned mouth.
Add more spiky Introduce some color. Use

hair on top of the Ink all the lines, mak- pale pink for the face, with
head, taking this ing sure you establish beige shadows. Make the
over the line of the where the hair sits on band blue, and color the hair
headband, too. top of the band. in tones of brown and green.
64
ExPRESSIONS, EMOTIONS,
AND ChARACTER TyPES
ExPRESSIONS
A good way to practice expressions is to use the same head, and vary the eyes and
mouth to create different looks, as has been done here and opposite. You can also
see from these expressions how shading can be used in different positions to vary
the facial expression. Draw a series of outline heads and hair, and practice.
This is a dejected expres- A determined expres- An open, laughing mouth

sion: the dropped sion is characterized by and closed eyes with
eyebrows and down- drawn-down eyebrows raised eyebrows show
sloping eyes, sidelong and lat, hooded tops to that this character is in a
glance, and worry lines all the eyes. happy mood.
point to dejection.
This character has a horri- With eyebrows and The perfect oval of the
ied expression. The eyes eyes sloping upward, mouth, the wide-open eyes,
are huge, but the pupils are this character is smitten. and the raised eyebrows
tiny dots. The mouth is The pupils have been show that this character
twisted in a terriied yell. replaced by hearts to has been surprised.
add to the effect.
65
EMOTIONS
You will only get emotion into your characters by practicing. Look at the examples here
and pinpoint the major features that characterize each emotion. The eyes are always
important and the mouth can be a critical feature. The same basic face here is used to
convey six totally different emotions from overjoyed to furious.
This girl is furious. The Surprise can be indicated The large, smiling mouth
shape of the eyes, and the by the round, staring and closed eyes with
arched eyebrows, and eyes and small pupils. downward curves sug-
the tight, down-curving The shading lines under gest this girl is extremely
mouth are ample demon- the eyes denote a slight happy. The shading on the
stration of her fury. anxiety or nervousness. nose makes it look cute.
This girl is alluring: her Chagrin is a dificult emo- Happy, calm, and placid
dark, smoldering eyes tion to convey. Here the is a useful emotion for
with large pupils, and her closed eyes on an upward many characters. This
feminine lips point to curve denote shameful wide-eyed girl has an
her being a seductress. embarrassment. innocent expression.
66
EXPRESSIONS, EMOTIONS, AND CHARACTER TYPES
gALLERy
furious
below Red hair always
points to a iery tem-
perament and a hint of
danger. This character is in
a ight, with his wide-open
mouth suggesting a yell of
deiance.
frustrated
above Dramatic spikes in subdued colors sug-
gest frustration, a look complemented by this
boy’s drawn brow, grimacing mouth, and strong
shadows on the face and hair.
dejected
above The dark hair here innocent
complements the dark eyes, left Wide eyes with
with rings under them. His close pupils and a shock
skin tone is washed out, too: of blue hair point to
this character clearly has had an innocent, happy
a bad day. character.
67
drenched
right The weather can do great
things to hair. Here the rain has
plastered it in streaks to the
character’s face.
sinister
below A shock of crown hair
lit from below, together with
the large eyes, point to a rather
sinister character.
handsome youth
right This is a great look for a bishounen
male: these characters are always slightly
androgynous with fashionable hair and
clothes.
68
EXPRESSIONS, EMOTIONS, AND CHARACTER TYPES
far out
right Dramatic characters need
dramatic coloring. Here the
dark skin and brooding eyes are
complemented by the shock of
white hair.
rebellious
below Wide eyes and mouth,
together with a cropped, spiky
hairstyle, position this young,
lively character as something rock chick
of a rebel. right This character has a
cute face with wide, inno-
cent eyes, and a rock’n’roll
hairstyle that has a touch
of glamour, too.
strong
right Flowing locks colored
dark green and gray add an air
of strength to this character.
She could be a ighter in a tra-
ditional manga action story.
69
punk
above Spiky hair contributes
free spirit to a punk look, and this boy’s
above Bright blue is a wide-open eyes and sneer-
good hair color for a punky ing mouth add to the deiant
hairstyle. This wide-eyed impression.
character is feisty and
free-spirited.
pensive
above The head on one side
shows a thoughtful nature, a
look emphasized by his eyes,
staring in the same direction as
his head is cocked.
youthful
tender above Large, innocent
left This character’s look blue eyes and plaits of
is fairly neutral: he may pigtails tend to say a
be paying attention or he character is young and
may not. His face shows a vulnerable. The blonde
sympathetic expression. hair adds to this effect.
70
gLOSSARy
bisect To cut in two; to divide into two equal parts.
bleed v. To ooze, run together, or spread beyond its proper
boundary (as in ink); n. the part of a printed picture or
design that overruns the margin.
coy Bashful; a shrinking from contact or familiarity with
others; primly reserved; pretending to be innocent
or shy.
demure Modest; reserved.
ellipse A closed curve.
emotive Characterized by, expressing, or producing emo-
tion; relating to the emotions.
epaulette A shoulder ornament for certain uniforms (usu-
ally military uniforms) or on women’s dresses.
foreshorten To represent some lines of an object or igure
as shorter than they actually are in order to give the
illusion of proper relative size according to principles of
visual perspective.
freehand Drawn or done by hand without the use of
instruments or measurements.
gouache A pigment made of opaque colors ground in
water and mixed with a preparation of gum.
graphic novel A narrative work in which the story is
conveyed to the reader using sequential art in either
an experimental design or a traditional comics format.
71
The term can apply to noniction works, thematically

linked short stories, serial iction, and long-form iction.
inking Placing reined outlines over pencil lines using black
ink and a pen, brush, or computer.
kimono A loose outer garment with short, wide sleeves and
a sash; a traditional garment of Japanese men and women.
layout The manner in which something is arranged and/or
illustrated, such as an advertisement, newspaper, book,
or page.
majorette A person who leads a marching band or pre-
cedes it while twirling a baton.
manga Comics and print cartoons usually written in
Japanese, published in Japan, and partaking of a Japanese
style of illustration irst developed in the late nineteenth
century. Manga-inspired comics and graphic novels are
now produced worldwide, but “manga” still generally
refers to comics of Japanese origin.
medium The singular of “media”; any material or technique
used for the creation of art; a means of communication
to the general public.
opaque Not letting light pass through; not transparent or
translucent; not relecting light; not shining or lustrous;
dull or dark.
perspective The art of picturing objects or a scene in such a
way as to show them as they appear to the eye with rela-
tive distance or depth; the appearance of objects or scenes
as determined by their relative distance and positions.
pigment A coloring matter, usually in the form of an insolu-
ble powder mixed with oil or water to make paints.
static Not moving or progressing; at rest; inactive;
stationary.
72
FOR MORE INFORMATION
Comic-Con International
P.O. Box 128458
San Diego, CA 92112-8458
(619) 491-2475
Web site: http://www.comic-con.org
Comic-Con International is a nonproit educational organiza-
tion dedicated to creating awareness of, and appreciation
for, comics and related popular art forms, primarily
through the presentation of conventions and events that
celebrate the historic and ongoing contribution of comics
to art and culture.
Dark Horse Comics

10956 SE Main Street
Milwaukie, OR 97222
(503) 652-8815
Web site: http://www.darkhorse.com
Founded in 1986 by Mike Richardson, Dark Horse Comics
has grown to become the third-largest comics publisher
in the United States and is acclaimed internationally
for the quality and diversity of its line and its ability to
attract the top talent in the comics ield. In conjunction
with its sister company, Dark Horse Entertainment, Dark
Horse has over 350 properties currently represented
73
under the Dark Horse banner, serving as the jumping-off

point for comics, books, ilms, television, electronic
games, toys, and collectibles. Dark Horse distributes its
characters and concepts into more than ifty countries.
Del Rey Graphic Novels and Manga

Random House Publishing
1745 Broadway
New York, NY 10019
(212) 782-9000
Web site: http://graphic-novels-manga.suvudu.com
Del Rey Manga is a division of U.S. publisher Random
House, working in conjunction with Kodansha, a leading
Japanese manga publisher. With a primary focus on
shojo and shonen manga titles, Del Rey Manga has
established itself as the fourth-largest publisher of
Japanese comics in English.
Fantagraphics Books
7563 Lake City Way NE
Seattle, WA 98115
(206) 524-1967
Web site: http://www.fantagraphics.com
Fantagraphics Books has been a leading proponent of com-
ics as a legitimate form of art and literature since it began
publishing the critical trade magazine the Comics Journal
in 1976. By the early 1980s, Fantagraphics was at the
forefront of the successful movement to establish comics
as a medium as expressive and worthy as the more
established popular arts of ilm, literature, and poetry.
Fantagraphics has since gained an international reputation
74
FOR MORE INFORMATION
for its literate and innovative editorial standards and its

superb production values. Fantagraphics was ranked
among the top ive most inluential publishers in the
history of comics in a recent poll by an industry trade
newspaper.
Kodansha International
Otowa YK Building 1-17-14
Otowa, Bunkyo-ku, Tokyo
Japan 112-8652
Tel.: 81-3-3944-6491
Web site: http://www.kodansha-intl.com
Kodansha is Japan’s largest publisher. Originally established in
1909 by Seiji Noma, the company is still a family-run
business. Kodansha continues to play a dominant role in
the media world, producing books and magazines in a
wide variety of genres including literature, iction, nonic-
tion, children’s, business, lifestyle, art, manga, fashion, and
journalism. Recently, the company has ventured into
digital distribution of content as well.
TOKYOPOP
Variety Building
5900 Wilshire Boulevard, 20th Floor
Los Angeles, CA 90036-5020
(323) 692-6700
Web site: http://www.tokyopop.com/manga
Founded in 1997 by media entrepreneur Stu Levy,
TOKYOPOP established the market for manga in North
America, introducing the term to the English language in
the process. TOKYOPOP has published over three
75
thousand books, distributed anime and Asian ilms on

home video and television, licensed merchandise to
consumer goods companies, and created graphic novels
of major brands such as Warcraft, Star Trek, SpongeBob
SquarePants, and Hannah Montana. TOKYOPOP
expanded internationally with ofices in Europe and Japan
and a network of over 160 partners in more than 50
countries and 30 languages.
VIZ Media, LLC

P.O. BOX 77010
San Francisco, CA 94107
Web site: http://www.viz.com
One of the irst companies to publish Japanese manga for
the U.S. market, VIZ Media publishes and distributes
comics, graphic novels, novel adaptations of manga,
magazines, art books, and children’s books. VIZ also
releases anime DVDs and handles licensing for its manga
and animation properties.
wEb SITES
Due to the changing nature of Internet links, Rosen
Publishing has developed an online list of Web sites related
to the subject of this book. This site is updated regularly.
Please use this link to access the list:
http://www.rosenlinks.com/mm/pose
76
FOR FURThER READINg
Amberlyn, J. C. Drawing Manga Animals, Chibis, and
Other Adorable Creatures. New York, NY: Watson-
Guptill, 2009.
Comickers Magazine. Comickers Art: Tools and
Techniques for Drawing Amazing Manga. New York,
NY: Harper Design, 2008.
Comickers Magazine. Comickers Art 2: Create
Amazing Manga Characters. New York, NY: Collins
Design, 2008.
Comickers Magazine. Comickers Art 3: Write
Amazing Manga Stories. New York, NY: Harper
Design, 2008.
Flores, Irene. Shojo Fashion Manga Art School: How to
Draw Cool Looks and Characters. Cincinnati, OH:
IMPACT Books, 2009.
Hart, Christopher. Manga for the Beginner: Everything
You Need to Start Drawing Right Away! New York,
NY: Watson-Guptill, 2008.
Hart, Christopher. Manga for the Beginner Chibis:
Everything You Need to Start Drawing the Super-Cute
Characters of Japanese Comics. New York, NY:
Watson-Guptill, 2010.
Hart, Christopher. Manga for the Beginner Shoujo:
77
Everything You Need to Start Drawing the Most

Popular Style of Japanese Comics. New York, NY:
Hart, Christopher. Manga Mania: Chibi and Furry
Characters: How to Draw the Adorable Mini-Characters and
Cool Cat-Girls of Japanese Comics. New York, NY:
Hills, Doug. Manga Studio for Dummies. Hoboken, NJ: Wiley
Publishing, Inc., 2008.
Joso, Estudio, ed. The Monster Book of Manga:
Draw Like the Experts. New York, NY: Harper
Design, 2006.
Ikari Studio, ed. The Monster Book of Manga: Boys. New York,
Ikari Studio, ed. The Monster Book of Manga: Fairies and
Magical Creatures: Draw Like the Experts. New York, NY:
Harper Design, 2007.
Ikari Studio, ed. The Monster Book of Manga: Girls. New York,
Okabayashi, Kensuke. Manga for Dummies. Hoboken, NJ:
Wiley Publishing, Inc., 2007.
Takarai, Saori. Manga Moods: 40 Faces and 80 Phrases.
Saitama, Japan: Japanime Co., Ltd., 2006.
Thompson, Jason. Manga: The Complete Guide. New York,
NY: Del Ray, 2007.
78
INDEx
b k
body language, 12, 23, 44 kung fu, 34
C M
cartoon-style igures, 37, 38 materials, drawing, 6–9
Chartpak markers, 8
computers, drawing with, 9
Copic markers, 8
P
paper, types of, 6–7
E
Pentel pens, 8
putty erasers, 8
ellipses,10, 12, 13, 16, 36, 37, 38
emotions, practicing, 66–70 R
equipment, drawing, 6–9
rulers, 9
F S
faces, drawing, sharpeners, 7–8
female, 44–54 superhero characters, 25, 39
male, 55–64
w
igures, drawing,
female, 10–26
male, 27–44 Western comics, 39
ineliners, 12, 15,
foreshortening, 10, 14, 33
v
g
villains, 59
graphic novels, 4
79
AbOUT ThE AUThORS
Anna Southgate is an experienced writer and editor who has worked extensively
for publishers of adult illustrated reference books. Her recent work has included
art instruction books and providing the text for a series of six manga titles.
Keith Sparrow has read and collected comics since he was a child. He has created
hundreds of storyboards, including one for the animation movie Space Jam, and
illustrated several children’s educational books for the UK’s Channel 4 and the
BBC. He became a fan of manga and anime after reading Akira.
80
Seja pago para desenhar
Talvez você seja uma artista e provavelmente usa seu tempo desenhando ou simplesmente
rabiscando. Porém isso parece que não está te levando a nenhum lugar, além de uma prateleira
ou gaveta empoeirada dentro do seu quarto. No entanto, na realidade, é possível a troca de todo
esse trabalho por uma renda online. O e-book Como Ganhar Dinheiro Trabalhando com
Desenhos e Fotos mostra como começar uma carreira, e você nem precisa ser um Da Vinci para
receber o pagamento. Você pode ganhar dinheiro mesmo sendo um desenhista amador.
Muitas pessoas e empresas pagam por coisas como:
● Temas
● Padrões
● Logotipos
● Desenhos
● Artes
● Ilustrações
E para você trabalhar e vender essas coisas, não precisará fazer entrevista ou qualquer coisa
parecida. É um trabalho baseado na internet. Sem a menor quantidade de estresse e você ainda
pode trabalhar em qualquer lugar e quando quiser. Esse e-book afirma que pode ajudá-lo a
publicar o seu trabalho na internet, e ser pago por isso inúmeras vezes. Seu desenho será usado
mais de uma vez e você será pago a cada vez que alguém usar.
Alem disso, se o seu trabalho for uma obra de arte, um logotipo, ou um desenho, você poderá
receber muito mais em comparação com o que você imagina. A propriedade intelectual é muito
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Como Ganhar Dinheiro Trabalhando com Desenhos e Fotos é um e-book muito informativo.
Com muitas diretrizes de como você entrar no mercado de trabalho e ainda traz muitos extras.
São mais de 60 links que te levarão para sites de cursos, artigos técnicos e muito mais.
Esse e-book não promete dinheiro fácil, você precisará trabalhar para poder ganhar dinheiro
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Além de poder trabalhar em qualquer horário ou lugar, você também poderá desenhar o que
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Clique aqui e confira mais detalhes. http://carlosdamascenodesenhos.com.br/como-ganhar-
dinheiro-com-desenho/
Conheça também os Cursos de Desenho Online

ISBN 978-1-4488-4800-3

Drawing Manga Expressions and Poses

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What is the book about?

What is the book about?

What are some techniques discussed in the book?

What are some techniques discussed in the book?

NEW YORK

This edition published in 2012 by:

The Rosen Publishing Group, Inc.

Library of Congress Cataloging-in-Publication Data

Manufactured in the United States of America

All other content copyright © 2007 Axis Publishing Limited, London.

Artists have their preferences when it comes to equipment. Regardless of personal

ShARPENERS AND ERASERS

MARkERS AND COLORINg AIDS

DRAwINg AIDS A selection of warm and cool grays

Drawing views from above involves foreshortening, which is a way of showing

This time go to the next

Ink all the main lines of the

As a graphic storytelling medium, manga relies heavily on body language to convey

Draw an egg-shaped head, Flesh out the arms and add a

A sitting posture is an interesting challenge to a manga artist. Here is a girl in a

Use the signpen to color the

Color her skin pale pink, and

Ink all the main lines

Draw an egg-shaped Join the head and

With the basic body Add clothing details.

This character is striking a tongue-in-cheek modelling pose, as suggested by one

Ink, then color your girl.

Draw an egg-shaped head and a Start to lesh out the ig-

Now add clothing. She is dressed majorette-

Start to ink your sketch,

The outit has a bold

Draw circles for the head,

Reine the proile of her

Give her a hairband, and then

Ink in the main lines of your sketch. Reine

below This pose is worried:

above This is a demure, submis-

above Here’s a girl who is running

right Under threat, this girl is poised

left Assertive, but not in the least

below With her feet planted

right With ists at the ready

left This girl has a wistful pose,

superheroine boiling hot

magical girl freezing cold

Add a neck and shoulders,

Draw an oval head. Add a vertical spine.

Outline a circle logo and

Start to lesh out the body,

Create an inverted egg shape for the head, an

Reine the proile of the face, and

Use an inverted egg

Next work on the details of

Start to add details. There

Give your warrior

Draw an inverted egg Flesh out the upper body,

Add his legs; one is

An altogether different stance is this squatting igure with outstretched arms

Color his skin using