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AFREV—-B- BUBB HELTOD, STWR LE VDL OF ORM EHO—DECHILECS, 2017118 SHR at WM CLE MSP YEW MP SMSH Stat Ey ta nite 1) 2000 4 PK ULI Zo A RUM ODL HE GES LL AONFor preparation for people who will start painting It seems that whether you can draw a picture well depends on your natural sense or sense. However, there are basic proportions in human face and body, and it is basically common to all human beings (no matter what the individual's physical constitution is different). By learning it, you will be able to draw your face and body correctly without relying on your senses or senses. Once you understand the proportions and locations of various parts of the body, you should be able to steadily acquire the skills to draw quickly and accurately. Although the contents described in this part are very basic, the scope of application is wide, so please refer to it.I'm going to draw. = For those who start Prepare. The mast important thing in drawing aface is the "postion" of each part and Itis to protect the "ratio", Small idiots lke eyes and hair Ttis easy to be aware of it, but keep the “postion and ratio" Twill be visible only onthe face of the person property ‘The way to draw it is very step by step Itis very versatile . OF course. . Please try to practice by all means even those who have confidence. How to draw a face \ Protect the location of the eyes, ears, nose and mouth First of all, from how to draw a simple face . If you keep the basic ratio of each part, you can see it on the human face. CD eyes:the mide ofthe ntolehead (DP) rose the idl thee an chin) ns: th ile othe sean chin @ tteeas wes otto eat ne vee fon beste (Shatin: nthe mide ofthe head and eyesHow to draw a face 4 step ! Let's draw a face in order while being aware of the ratio described on the left page. ‘While knowing the location of each part, repeat the work going divided into 1/2 and draw. OY: (Daw eyes in the middle of a circle. @ draw a nose in the middle of the eye and chin j) & @ raw a mouth in the middle of the nose and chin ®@ draw an ear next to the eye and complete it Faces seen from different angles Even if the angle ofthe face changes obliquely, the height ofthe eyes, ears, nose, and mouth isthe same asthe horizontal pane , Let's draw different degrees of horns, paying attention to the change in the position of the ears and eyes . Side Diagonal Diagonal Front, AO2Draw different ages If the eye position is lowered, it becomes a child. IF ts highes, its becomes the old man's face. IF WS im the mide, it becomes adult face .. Changing the position of the eyes in order to distinguish the age - — ~ ° 6 ° \ Child Adult Old Man (The eyes are below the middle) (The eyes are in the middle) (The eyes are above the middie) Baby iu ~) os A Old man (" . (A) et CG ey (A he] dult woman Let's divide by the length of the face and the position of parts!Fukan and Aori expressions By changing the ratio of rhyme parts, you can also express "Fukan " or “Aori", Fukan looks down from above, and Aori looks up from below. By Fukan Aori, in the same theory as the age drawing described on the left page. You can express a sense of adulthood and cuteness. In the case of fukan, the eye postion is lower than the middle, a Which makes it look lke a child ™~ In the case of Aori, on the other hand, it.can look mature, Character set by Fukan and Aori Even in photographs such as magazines, fashion models are often Aorl, ‘and gravure idols are more fukans. This is also one of the ways to make a model = adult idol cute. { Adultiness is \_ expressed by Aori The cute character is fukanHow to draw a face from different angles First of all, try to see how it looks from the side, front, back, top and bottom. If you learn the five basic patterns, you will be able to draw faces of any angle Side = a~ hy) & & he O© Combine basic patterns By combining the above basic patterns, you can draw faces of various angles. Let's practice. (> Front o ) - a Diagonal + J = bY Side Ax under Diagonal angle — — SY + kop = EY ——™~ side —\ upper ~~ \ piagonal fukan or. Ore aA oy vaLearn how to look at each angle! In order to be able to draw various angles, its a shortcut to remember how each view. Let's observe the real thing, such as the head of oneself or a familiar person, the head of a figure, Lee 1 - 1 Practice for people who lose balance between left and right ‘When drawing a face, right-handed people are often so small that the right-handed face and leftshanded ones are scraped to the left. In order to correct this and become able to control it, its. recommended to invert the picture you have drawn once and turn over the paper (revert the paper) ‘and redraw it again.Also, with regard to the angle of the face, the right-handed person tends to draw ‘nly the left-handed person, and the left-handed person tends to draw only the right-handed one, ‘0 try to practice the opposite. 0.60 gna peur. BA picture in which the eft ceitnenserteee OF ieee Osa oe becomes smaller Practice drawing again sien as you trace fo abovePreparation for people = who wil start painting The human body is complicated and it does not work well even Ifyou try to craw iin small steps, At fist e's simplify and capture the form anyway. I tend to look at irregularities in details How to draw such as muscles and skeletons, but if I train in a the body Simple figure that captures the overall balance’and proportions, wil rally be able to craw a balanced body. Let's simplify first [A frst take a balance of the body with a circle and a trapezoid, and add hands and feet as you get used to it Be sure to keep the ratio in ether case. Expressed with only simple figures & ‘A body expressed only by a circle (face) ‘and a trapezoid (body, leg) Even simple shapes look human Add hands and feet ) |Add hands and feet. A At ths time, shoulders-elbow: elbow-wrist 1: 1. ) Hip to knee: knee to ankle are also 1: 1, want to try to protect myself consciously because this character ratio is common 1 to any character that the wrist ‘comes next tothe hip next to the waistaE orem a 1 a — Express freely with figures Even with simple shapes, you can draw different bodies and pose them, but let's practice a lot with simple shapes. In the drafting stage of the animator that draws a large number of sheets, this simplification is often done to keep the head and body. Let's draw various poses and moving poses in a simple form. Distinguish between differences in body shapes iS) — ==>, | o> Er pote Nag mo =f —r, ~~ —— a Ty Te UrT Shoulders are wide and adult males are wide, and waists are wide and adult female shoulders are both narrow and childvisible Take various poses < Moving characters This is the prototype rc. ) of animation Ay Se . tf LEPAbout the range of motion of the limbs ‘Once you can draw the body with simple figures, the next thing you want to be aware of is how to draw the limbs. ‘The point is the range of movement ofthe ibs, or “the range of motion." ‘The range of the circle centered on the shoulder ‘The foot can be freely placed anywhere within the cre centered on the hip joint It is OK no matter where you draw limbs within the range of crcl, Knowing the range of motion extends the width of the Picture you can drawExpress a three-dimensional effect with "compression" of the limbs ‘The limbs towards the front look shorter than the actual length. This state is referred to as TE contraction 1. In this way, "compression" can express a three-cimensional effect, ‘and can draw poses with various angles and movements. Example of hand and foot compression @ Do not draw, sometimes think from the top and the side, \ You can see thatthe limbs are "compressea" X\____ and appear short depending onthe view point and the ‘ © __ orientation of the character seen from above it \When a person holds a bal infront ofthe chest, Compress hand with pole the elbow automatically bends and the hand appears compressed ‘when viewed from the front, Be aware of the length of the arm, ‘siti often the case from the shoulder to the elbow Natural compression ‘The shoulders are too long and they ree tly loks ike naturl three-dimensional poseLet's draw from the tip of the hand and the tip of the foot Tf you know the range of motion of the hands and feet, you can draw from the hand tip foot tip suddenly. ‘Tomake a natural pose, first place the tip of the hand and the tip ofthe foot, and let's draw by filing in the meantime . Smoking a cigarette distance between OLY (mouth and cigarette, S GE) im : Soe 3 Was - OP » 6 be 2 4 is \ mnRae the éraving ower, wth tne dain ofthe el tng” {ts more difict to draw a ine drawing ofa real thing than drawing a set of manga and animation. ‘Thal’s because we have to represent things that are not originally craw as ines. ‘Here, fst, 1 wil introduce Make a swimsuit character eaoeeiiecncwbine Draw in a simple way [Asin the case of replication, 1 do not craw from the deals but first replace ie with a simple form, Let's draw consciously to balance the whole, Reallstic body of ve-acton fm, Capture in imple Naures. ‘We cut out a sthouette from 1's aificul to make this @ ‘A his time, only the bodys angle, the whole frm. Image of straight line daving rectionaty and overall ize carving a sculpure from ‘re considered 2 plece of wood\ Raton, we de th oes sch Finally, reprotce them, 2) Semmes yy Sota Ne ‘that rat oe oe k ( P| (2) Ifyou can't get it, let's draw it using the same Be careful because if you chase the 28 page as the replication Uunevenness too much it will Be a sensible pictureHow to draw faster ‘If you want to draw faster, such as on a train or outdoors, you can capture the entire form more simply. ust look at the outlines on the left and right, and draw attention to the overall flow and size. IF you do not have time, it wil be enough practice even if you finish in 2 stages. Capture the entire shape so that you dont stare at the detais Decide roughly the size ofthe head, the middle postion ‘of the whole, the position ofthe knee, etc. ® Look from head to foot and form a rough form on both sides JA 1 draw in the details and it's a finished sketch s0 it may be finishedConsciously draw Especially in pose, be aware of changes in height (axis changes) on the left and right of the shoulders, hips, knees, toes, etc,, and observe the photo to see which axis is changing and how. Make the axis change a line and connect it OK ‘A proper standing pose is not straight but the axis is changing. People tend to be unconsciously. Read and reproduce axis changes consciously. 0 RR F eae = When changing the walt au Ifyou change your feet. Rightand leftthe same Tye center of gravity is expressed TR ks more ave oe fn the movernent comes ou Put your hand fon your waist and make it more or less asymmetric!In ine with the reat thing This isthe fst time ve been able a to use this app on my Pa. Even if you are wearing clothes, the basic idea is Ttis the same as water wear. Clothes to wear tight shoulders and hips ‘The Shape ofthe fot is the shape ofthe body. Hirost, Too much to care about clthes, chasing concave convex and wrinkles, ‘Not too much, "add clothes tothe body" ike consciousness Lets draw, The person in the clothing. To draw a line Drawing clothes in simple shapes Just like on page 40, you start by drawing a silhouette and capturing the shape . ‘We will draw in the order of the middle body, the smaller parts . When you're wearing clothes First of all, just look at the silhouette To lin the gaps. It sounds difficult, +++ ++ To be single shape Lill draw the details Wrinkles and concavity of clothes Be careful not to add too much detailsDress on the base Evan fi, bose fst the end, Lats draw an image of adcing clothes to underwear Shirt Jacket Even with clthes tke down Jackets, ad thickness tothe base of the bodyHow to draw around the neck and shoulders ‘The neck and shoulders (bust up) is a dificult part because the collar etc. are entangled, but the concept of adding clothes based on the body isthe same, Let's change various clothes in three dimensions. Body Let's raw while being conscious of what happens to the neck tree-dmensionaly, up tothe isle Side ofthe ther ise, Be avare that you are wsarng the “head is diagonal” Tester vee she sh Be caefl not to have steep shoulder 11 Because the angi attached, ‘ab conser thatthe mdline| BS sighty behind Greeee ~ GE TT 4 iv yh ie igs Suit + tie Hoodie Be careful not to ‘\ ae te colar or tie too big IS | ‘Align clothes parts such as tie and hoodie straps with the midlineea ae 2) How to draw a skirt ‘Think on the basis of Let's draw while being aware of what the inside ofthe body i. ‘row 2 tha the wast wth the mage “hanging” In acordance with the three-dimensional effect ofthe thighs, bulging places are wide interval, valleys ae three dimensional in narrow intervals \\\ ‘A short skirt close to the body with cloth ‘added to a miniskirt \ S| VA < Connect by ading the right Is based on loose pants 4 If you put a wrinkle (on the cross section line ofthe foot in ‘mind, it will bea long skirtRas the drawing power With "ine drawing of = the real thing” When you draw a person's face, you may not be able to express well-being and loveliness. ‘This is because it is pulled by the original impressi and eyes, nose, mouth, etc. swell greatly. Since the face is a lot of parts and the amount Of information is large, the balance tends to collapse when trying to draw from the joint. Let's be conscious of drawing according to size and position while seeing the whole balance. Draw a face There is a difference depending on the order If you draw from the details, the balance will be lost. Let's look at the following example as a reference, why i is important to draw from the whole form. — DK thy sarong am ourees qd (ws When you start drawing from the whole form ‘When Tmake a line drawing, I ust want to start deawing with my eyes, but if make & mistake in the YY ‘drawing order, the balance will be lst. Let's see how the fish changes depending on te drawing order \ ! =]‘When I start drawing from yo x OD an Tam strongly aware of \ my eyes and become too big / bh Wy) i @ = = ‘When we increase nase, mouth, a ae @ outline there, .. ‘There is no sense of unity in the whole, and the eyes, nose and mouth only become large and unbalanced pictures Catch the head, neck and shoulders as a single block, draw the entire form, and O. \ oN tu pe ge na, See ey ee ee, a o- Siete ana eae rae Ll do deal suchas — bNetow fara the nie ory eyes and oa \ fecal press. Become a balanced face ofthe wholeHead,neck and shoulders draw together Not only the line drawing of the real thing, the hea, neck and shoulders tend to think separately. However in real human beings, these three points move in unison because the talk meat is connected in ‘2 complex manner from head to neck and shoulders. Let's express it based on the observation ofthe real thing regardless of your own preconceptions x Head, shoulders and neck are seperated O Head, shoulders and neck are one ‘arms up and shoulders up and It becomes an unnatural picture different from the movement Think of the head as a square When drawing your head, itis les likely to get the wrong size or angle if you take the shape cof a rectangle instead of a circle, Capture a rough shape with a rectangle and draw it while scraping it x Draw in a circle Draw in a square f O SOEDraw head Please note that if you draw the nose or mouth first, the whole will swell, 1 will draw the order of the whole form — the detail. Draw head, eyes and ears @ Draw a nose ‘ter capturing in the form, ‘The nose and the mouth are drawn based on 1, determine the postin ofthe three ears. ‘and other irregularities are aso drawn roughly. Balance and finish at this stage are determined Draw lines of hairine x Ae Wee akc 4 we a = } 4 d* common miss “Too much awareness inthe nose ‘and mouth only makes it bigger Bring in and complete while maintaining Blo 6 (i ZEN (\ e Cg 5 } Draw various face partsTy 3| ex (' /\\ (\ GX _— ‘ / Il becomes half= To the character = To have a sense of dynamism How to draw poses i @ foot —__Inorder to make the character feel real, Seen on on Expresses the lance by bing avare ofthe ses of eighth hl pose This the fist time ve been able todo tis, As the practice, with one fot Let’ craw a standing pose Basic pose Asense of sbity can be expressed by supporting a hea head wih the sls ofthe fet and spreading both hands to maintain balance . Pay attrton to the tip ofthe hand andthe po the foot, lets have an interest inthe charctr —> Straight ahead, as > oud Balance with the “back” |} on the bottom of the foot 2) Head, shoulders, to, hips, w\ Ss ‘ a caastiinnteensnceeesemeteennneenemmme neeOne leg standing pose If you don't use it well, you can not balance. Let's check how to get balance while doing the technique. OX rm eosing my eyes. DX The legs ae bent \ ¥ If you bend your feet, \\ vot hy Tag acaba \\ ~ 2? —_ L? >< T'm not spreading my arms. Os Correct pose spond to minor changes inthe \ \ center of gravity by spreading both hands |How to take balance to think by handstand The pose of a handstand is considered the same way of balance. It does not try to balance with only a hand, but it stretches an arm and puts a shoulder and unites the whole body. < Arms are bentExamples that do not look heavy ‘As shown in the example, when there is @ gap between the luggage and the body, the luggage looks lighter. Let’ lift the heavy and ight luggage and observe the difference. A lightness when the package is ‘away from the body Draw the object and the person together In order to balance with people, let's capture the package and people together. Think of it as a single massI draw in a level that seems to fall down ‘To balance with luggage + people, think in a pose that would fall if there were no luggage. x ia) ZU Expression that pulls string strongly Consider the flow of movement of the whole body and the change in the strength of strength when applying power to things, using the picture below as an example. When the sting is pulled strongly, the rm and sting become gradual in line and then ‘the whole body is united in the order of the waist and legs, and the string is pulled with stronger force. ‘Strength of power: D=O®<@>) Determine the rection of the wind and DD) the direction ofthe character wh ‘ sigtly windy atmosphere ie produced when the lege are / sgh erotched >) Draw a perspective line according = to the character and draw a hand > Ke 1 3) Draw arms, clothes, hair io Ly AS # WG (a state that cannot \c resist the wind os 4} o Let’s add drawing before and after the wind blowsReference pose 1: Throw the ball Let's draw a pose that throws a ball, paying attention to the movement of the center of gravity. ‘The ball is not thrown only with hands, but with the head, shoulders, guards, and feet all together. The point at utich he bal ars throning i weak The ray eso bide rove If Ris too much, you wl seal strenght tthe moment of throwing, Tetronghodenr ees matte os {In addition, the stance of both feet is not too big and draws in @ natural size ‘but means @ natural way to raise i, . DX. tmtoo open, too wide >< Trebaliseadng - de EPS fa /> — DX Aims are too high oS b,z NG O — yy ~ eZ ea - YI Look at the direction to throw the ball to 8. Immediately after throwing, the arms stretch out. ‘Twist the shoulders and hips. Time is about 80% ‘The last pulls out the whole body @ \ V 2 Line is facing down and limbs are stretched © PG BF OR 5A) os You can apply the most power at 80% growthReference pose 2: Standing long jump, get up Let's pay attention to the flow of force and the movement of the center of gravity to draw the moment of movement. In the following two examples, the body moves in the order of "Crush" — "Stretch" Standing long jump @& Movement reference line _&Spatial representation and layout 1 day Space expression and layout In order to make a picture, which is a two-dimensional expression, more realistic, elements of space such as rooms, roads, cities, and nature are essential. When expressing space, it is particularly important to be aware of who, what, where and how are you looking at it. In other words, where to set the "viewpoint". The meaning of the picture changes depending on whether it is fukan or sloppy, wide-angle or telephoto, or what kind of frame to cut out. In this part, we introduce the basic idea of Perth, the method of attractive layout, and the "space beat" that you must remember to draw more space freely. AN tT5-1 5-2 5-8 5-4 5-5 Basics of "Space perspectiveto learn with chairs and people "Perspective" to learn by two people facing each other "Layout" and "Eye Guidance" to learn with water tower and people Draw things and people Draw space freely with "Space Beat" 102 108 114 120 128Spatial representation ‘and layout Unlike the pose of a single person, when you try to draw "a person sitting on a chair” you can not ignore the spatial expression. Let's learn how to draw people freely in Various spaces without relying on your own hand garden, Basics of “Space purse” through how to draw “people sitting on a chair” to learn with First, I will explain how to draw a cube (chair) on - the perspective, then how to put people on the perspective, chairs and people and how to draw the shape and posture of the body when sitting at the end. Let's have people sitting on the chair ‘The picture on the left is a common mistake. ‘Take the following points into consideration and compare them to the correct examples . _— a ( ma 1 can see the seat TA on the back side A Wo ‘The seat surface is Inverted perspective ad Too long below the knee Be aware of the squashing of the buttocks ‘Buttocks are eating onthe fan heds are lng forthe knees The postion ofthe nee ges down By squeeing the butods, and the chor an the person adhere Let's check the picture seen from the front and the side if you get lost!Difference in appearance of cube by present point ‘The appearance of the ancient body changes depending on the viewing positiba1 (£28 — AMA (=, This is because ifthe distance is close, the perspective line will be steep, and if it igclose itl be loose, ‘The effect is greater the closer you are, p on a 7 YY Cube A (close) Cube B (fr) Feherewal RA SdRB ee i Difference in the appearance of the cstance ratio between the front and back. ‘The ctference Inthe distance between the ‘ear part (purple) an the far part (green) of cube Ais large, 50 the perspective becomes tight. Tn cube B, the difference between the near part (blue) and the far How a person How a person part (yellow) decreases sees cube A ‘sees cube B Any chair is box based “The chair looks lke a cube stack. Let's stack cubes and draw various chairs. If you put a character on the screen, it will be easier to draw from a cube. = a <> If the sofa draws a cube side by side, it is OKLet’s put a person on the chair y applying the difference in the appearance of the cube described on page 103, itis possible to draw the difference in the appearance of the person on the chai Let's draw the perspective of the person in the following order, using the chair as a guide. When viewed from near Set the eve level and decide the shape ‘According to the position of the chair, seat = walst, of the rough box you want to draw. back = inside brow. Atari is taken so that the Check the direction of the perspective line end of the seat = knees. ‘50 a5 not to mistake which line is on which perspective [3] The soles of the foot (23 to 27 em) draw in proportion to the depth of the seating surface Of the chair (40 to 45 cm) When seen from a distance In the two-point perspective method, if the distance to the object is short, the two vanishing points wil be far apart if they are far from each other, Even at the vanishing point outside the screen, connect paper to make It bigger, or use digital tools etc.eee es Tees = Keep in mind: What is point perspective? “The idea that i to parallel ines in a thousand planes are extended infty, | they wil intersect. atone pont (disappenring pont on the height of the viewpoint (eye level. Ifthe object being viewed Is agonal viewed from te poin of view, fs a two-point perspective | methed with two vanishing points. Furthermore, when the abject is approached and the stance ratio between the Upper and lower sides cannot be ignored the height is aso perspective, 50 Its expressed using three-point perspective. ‘Based on the Aart of various places here, 1 draw detas na three-dimersonal monn, ‘il i oan daw a person. See cncous af acing perpetve © ene comment aaa ‘Crush the buttocks and thighs that come in contact With the seat to expres a feng of clase contact wth the cha (se page 102)Draw Fukan Aori First of all, I think of a cube based on the fact that the fukan-eye level is high and the aori-eye level is low. If you can draw a cube with a consistent perspective. Follow the hand on page 104 and place people there. ye level Bye level Various sitting poses “There are various ways of sitting, such as the sole not attached to the ground or just sitting at the waist. Let's draw various sitting patterns by pose yourself, look for photos, etc.Be aware of your sitting posture \wmen you draw Bose only inthe upper body, it looks lke youve stretched your spine lke the example above. Keep in mind thatthe O pose will be sightly backwards as long asthe ceremony isnot formalized. If your spine Is stretched, just looking above your chest, Blue streaks are growing you do not know if you are sting A When I sit down with my spine, ‘my lower body gets into ‘an impossible pose If you sit back and relax naturally, you will feel a slight backlash‘ : ‘Spatial representation _ ‘and layout “Perspective” \When two persons exist simultaneously on one screen, a space representation i Fequed between the tno persons. Especially to learn by two people ‘when draning the whole body including the feet, the distance betveen the two becomes clear depending on Pow many feet are facing each other Jn between. Also, depending on where you look atthe two people, the meaning of the picture is completely ciffrent. Wide angle and telephoto Wide-angle means that the viewpoint is close and the angle of view is wide, and telephoto means that the viewpoint is far and the angle of view is wide-angle and telephoto are expressions of the difference between the viewpoints of people who are watching. It means narrow condition. In both cameras, the boy shoots so that the top and bottom of the frame is fully. Ian seen thatthe gap between the a ‘nd the frame fate diferent for Camera t (green ne) and “Camera 2 (alow ne).Difference in appearance due to distance ‘The difference between boys and girls increases when viewed from near. Looking claser from the ‘viewpoint, the wall is distorted according to the distance ratio from the viewpoint, ‘When viewed from a distance ... The difference between the size of the boy and the git! is smaller, and even from the distance, it may even appear to be almost the same place. When viewed from near When seen from a distance When viewed from further 7 —_ G6) _| | | | Let's replace it with familiar things Since itis difficult to draw changes in viewpoints suddenly by people, let's replace them with familiar ‘ones first and then take a picture by arranging tissue boxes and plastic bottles, and see when viewed from near and when viewed from a distance Let's observe how people change, = aS [m—— , EE AY = f attMatch the eyes of two people \When drawing two pepe facing each othes It ie also important to match ther eyes. Lets look atthe points to match your eyes from two perspectives, See two people from afar x cannot see other's eyes Tcan see that the girs eyes has turned alittle downward. The boy's eyes are not looking back Drawing with te recognition that ‘the gil ison the ight leads to such mistakes es g ‘The boy's eyes are looking back /,, the gis’ eyes are aligned went me) SKY ‘two's eyes meet