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RER, AFAbV—-2- GUC MSS COS, AECL NGM BOS OME SOME CHILE CH, 2017118 SI met MCL RCRA ee (1) 2000 4F Beta es Ihe fa SOC Oe STOLL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 te all human beings (na 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 scape of application |s wide, so please refer to it,‘The most important thing in crawing a faces the "poston" of each part and Itis to protect the "ratio. Small cot ike eves and hair Ttis easy to be avare oft, but keep the "postion and ratio" wl be visible only on the face ofthe person properly Toy ranks te yep is very versatile. OF course, , ‘ry 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 . Tf you keep the basic ratio of each part, you can see it on the human face. 1) eves teil of tw ead (>) ose th idl ft eyes ant chin) Esthet tre nese ar tn ) (D @ teesaeaonsc behest vertton fee (5) haine: in the mie ofthe head and jsHow to draw a face 4 step ! Let's draw a face in order while being aware of the ratio described on the let page. ‘While knowing the location of each part, repeat the work going divided into 1/2 and draw. 22 (Drew eyes in the middle of a circle. (2) trav a nose in the midle ofthe eye and chin @ raw a mouth in the middle ofthe nose and chin @ drew an ear next to the eye and complete it Faces seen from different angles Even ifthe angle ofthe face changes oaiqualy, the height of the eyes ears, rose, and mouth s the same asthe horizontal plane. Let's draw cifferent degrees of horns, paying attention to the change in the position of the ears and eyes . Side Diagonal Diagonal Front C062 Ee)Draw different ages If the eve position is lowered, it becomes a child If it’s higher, its becomes the old man’s face. Ifit’s in the middle , it becomes adult face ... Changing the position of the eves in order to distinguish the age — =~ OS e e - o—4 \ ® - —_— Child Adult Old Man (The eyes are below the middle) (The eyes are in the middle) (The eves are above the middle) o MC man a 6h ° eC } wz lult 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 Aor, 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 eve postion is lower than the middle, Fukan Which makes it look lke a chiké ~~ - Aori In the case of Aori, ‘on the other hand, te {can look mature. Character set by Fukan and Aori Even in photographs such as magazines, fashion models are often Aor!, and gravure idols are more fukans. This is also one of the ways to make a model = adult idol cute. Kl Uo me ~ Adultiness is = ce. | expressed by Aor > ‘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 x ‘rant -_~ Wy OO [ i Combine basic patterns By combining the above basic patterns, you can draw faces of various angles. Let's practice. =f Diagonal Under i Diagonal angle K+ © - (Y Cc Side Upper “~~~ piagonal fukan WN A é + = ty Me al a * Front wsLearn how to look at each angle! In order to be able to draw various angles, itis 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. Practice for people who lose balance between left and right ‘When craving a face, right-handed people are often so small that the right-handed face and left-handed ones are scraped to the left. In order to correct this and become able to control, itis 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 ‘only the left-handed person, and the left-handed person tends to craw only the right-handed ane, aueeeteans PN £ S\ PN be a oe ' i - nc) , Flip t =e/, Su Original picture. @ai picture in which the left create a bal —. tom ORES “es ane ae ore Berea eredPreparation for people “ who will stare painting ‘The human body is complicated and it does not work well even ‘if you try to draw it in small steps. At first let's simplify and How to draw capture the form anyway, 1 tend to ook at inequartes in detals such as muscles and skeletons, but if I bain ina the body simple figure that captures the overall balance'and proportions, il frally beable to draw a balanced body, Let's simplify first At fist take 2 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 elther case, Expressed with only simple figures O) 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 this time, shoulders-elbow: elbow-urist 4:1, Hip to knee! knee to ankle are also 1:1. want to try to protect myself consciously because ths character ratio is common 1 to any character that the wrist ‘comes next to the hip next to the waist ID eT] Mika) LET D — A l MY A \Express freely with figures Even with simple shapes, you can draw different bodies and pose them, but let's practice a lot with sim; oft I RI TT AL ‘Shoulders are wide and adult males are wide, and waists are wide and adult female shoulders are Take various poses Rope fh LES a ake Moving characters 6) “UO fees Loa S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 points the range of movement ofthe limbs, or “the range of motion." ‘The range of the circle centered on the shoulder “The foot can be freely placed anyemere within the crcle centered an the his jn Its OK no matter where you craw libs vthin bre range of a O s+ eget tnd Knowing the range of motion extends the width of the picture you can drawExpress 2 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 | /. 4 oo . ot draw, sometimes think from the top and the side, ‘You can see that the limbs are "compresses" ‘and appear short depending on the view point and the . Xo ‘orientation ofthe character seen from above i When a person holds a bal in front ofthe chest, Compress han with poe the elbow automatically bends and the hand appears compressed when viewed from the front. Be aware ofthe length of the arm, asitis often the We) from the shoulder to the elbow Vaca ome compresion “The shoulders ae too long ‘and they retire flatly ‘looks like @ natural \ wees mme_/Let's draw from the tip of the hand and the tip of the foot IF you know the range of metion ofthe hands and feet, you can draw from the hand tip foot tio suddenly. Smoking a cigarette ~ dete oN C ) Ge) GA a] ! 2) aaa WS OY? ‘ With long rods i ™~ Be aware of Gai x ® ) position of i sco head, hands and feet Tormake a natural pse, rst place the tip ofthe hand and the tp ofthe foo, and lt’ raw fling in the meantime c =~, Be aware of aa distance between te 3 points= . . (( Pace your right hand! Drawing a good composition Even when drawing pictures that require a frame, such as animation layouts, ‘manga pieces, and illustrations, drawing from the tips and feet makes it easy to create a good layout ‘and composition. Stretch one hand Run towards you XK and head in a frame Y SA, YLet's draw the subject accurately and quickly ‘The "body" ie the body without accessories suchas clothes and halt. {presented five types fram a simple form to something close to the real ting Depending on the stage of the craft and the situation, please use different elementary Forms properly. Various body @ J NI, ON S— —__ — JC |e < -—- so: ————" 050 aa Ah Mh Soe 7 ‘ 2s \ (CD Simple body with only lines, circles and squares. At least this looks like a person (2) A body with joints such as elbows, knees, shoulders, and hips @ A body tke a wooden doll. Easy to capture in three dimensions (Z Abody that simplifies the ribs and pelvis. Easy to understand the range of motion of the shoulders end hips (© Real naked boy. Just add clothes and hair to this to make it completeProper use of body ‘The subject introduced on the left page has different roles depending on the type. Let's practice by using properly according to the purpose. A first, practice with simple 1 and 2 is recommended. aw Useful when you want to draw a lot “iN [| Ne a sy zs ~ \ o- 2 au (Dey tat an be en auiekdy and ~ ‘This version adds oint ) Doerner as Herel (QD) suave for eressie pose expression (B) You gan empress ss amasting when sete, misalignment of arms and legs, etc.EIS Tips for "replication" that will surely improve Tips for “Improvement” Certainly If you want to improve at the fastest, anyway it is best to do “Implication” The picture of a professional who is active at present also replicates the past picture symbols (patterns of pictures) Absorb and draw them in combination. Ignoring these and starting to draw on their own is lke “reinventing the wheel" and itis too inefficient in this part, we will introduce some tips for copying to improve. While referring to the commentary, look at many pictures that are currently in vogue and past masterpieces, find out what you like and copy it in it. You should be able to remember a lot of symbols of good drawing, and the width of the picture that can be drawn should be expanded.Let's keep the ratio and draw it If you are not comfortable, try using auxiliary lines How to combine lines How to draw eyes 26a 2When you copy your favorite picture, certain parts such as eyes and hair often swell and the balance gets worse. This is because the concentration is 1 concentrated on the part with strong Let's keep the feelings for the picture or character, and i itis drawn too hard to be there. ratio and draw In order to avoid this, itis important to keep in mind the “ratio” and “positional relationship” of each part. At first let's grasp ratio ‘View the picture you want to copy on the whole, and understand the ratio of head, body and feet. Also, by using the positional relationship between parts as a guide, the entire shape will not be greatly distorted when starting to draw. ln Understand the: proportion of each part For example, you can capture the form by paying attention to the relative poston ofeach part, such as the right knee and the left knee being at the same helght!Recognize with a sense of three Let's draw in order in three steps, keeping in mind the proportions you set in Meige. Do not stick to raw hair, one place such as hands, and start with drawing the whole rough shape. ]) Capture in a simple way Only look tthe whole belence \\_was so rough! O v\ @ Take each form separately “Tak the for cf each place to bedded bytes hie beng consceus ofthe sence cf voume. Toul We te daw deta soc as ees and ha, bat nl fellow the Supe frugh pats Don't draw one hair ata time, let's draw In bundies! Draw details to fill the gap After dividing each place with a line, dravr a joint to fil in between them. Don't stick to one place until the end and dravr while spreading your eyes across,OD mitt If you are unfamiliar, Tal spe i erat oe {| itis recommended that you start with the Help Line. try using an by avin ejures mi rus a rong wth ili i awareness of what is in which squares, auxiliary line fr Cnaaioey epic ao eve viatat meaage The effect of copying by auxiliary lines By using an extension line, you can find out what pont the character has in common withthe vertical and horizontal aes. For example, isa standord for grasping the positional reationship ofthe ea, ast ard feet with a wide view. CCopture the orginal picture acauratly and reproduce i fatvuly No auailiary line With auxiliary fine 4 ‘The sie and angie of impressive pats such as eyes fend chest wil collapse The vertical avs isthe | character length, ‘andthe hanna axes 15 the thickness standard. CConsciousl ok at the ‘whole form, be careful not Tollook only atthe squaresPreparing to draw a line Lats draw an auiiay line. The pont just to make @ ifference, so as not to overwhelm the details 1 Put a white paper on top of the original picture, 2 Draw two thick lines along the toe and head on the horizontal axis, 3 Draw a thick line at equal intervals from the line of 1 4 Draw a thick line to divide into 8 Draw S to further divide 8 squares Thin ine Thick ine uta blank set on the eriginalsicture tthe coy and dra the ‘Bailar ne fromCopy using auxiliary lines {In te case of using an auxiliary fine, as well as copying (see page 25), look atthe whole and draw with balance. Please be careful nt to focus your eves on one spot just because you have squares. (Determine the overall form Focusing on the thick ine, focusing on the overall size and fom, determine the form @® draw details Wie take the form of parts while Jooking atthe thin line, When drawing a line, be aware that tis “one in the whole” and be careful not to chase details. If you draw more detals afte this, twill be completedLet's expand the interval of the grid [Aim to draw accurately with narrow atniliary lines, and gradually expand the space as you get used to. If you are conscious ofthe same points of vertical axis and horizontal axis, please be aware of the same way of drawing. 24 division 6 divisionTips for "repcation” that vl surely improve By cabiring various lines, you can express moveret and tiree-dmensional fet. Compare the geod and bad examples How to Presented below, and be aware of how the lines are combined. ‘Tn adlton, try to practice consciously avoiding symmetry in combine lines ‘der to draw three-dimensional, dyramic pictures, Combine straight lines and curves ‘The picture onthe lets wild arm so much tat it tries to draw muscle bumps, By crewing the ouside ofthe rm ina straight ine and curving the inside as inthe picture on the righ, the picture becomes sharp. ( ) Both the outside and “The cuter side i a straight fine the isige are drawn anda sleigh, and the ascarves inner side @ curve ‘ene ae Avoid monotonous lines Let the in of wrinkles in clothes be unequal in length and quantity, and express strength and wrekness and three-dimensional effet. ) , xX ae — Le becomes la when It looks thee-dimensional and deat rete en the ne eg roto ine ‘Peldrecon ee tepuon —S moside Draw the whole body in: king is the same when you wear yourself to give a good feeling. ‘The way of thin t's put iAvoid line crossing When the number of points where the lines cross increased, only those parts are looked at and its: ot possible to clearly convey wat you want to express, Especially for Joints such as elbows and knees, lines tend to be concentrated, so be careful to avoid crossing xX wil be noticeable conse when the ines rose sail avoid cressing ¥"X" and 'Y" Conscious thatthe intersections of the ies do not have the and ¥ Avoid the form of "X" andl "Y" Gasca ht he te x Y How to express the thickness of cloth ‘You can express the thickness of the cloth by creating gaps without crosing the nes ofthe hem of thes. Ttean be applied to various stations where you want to expres thickness, such as cups. PPPs “Thickness does not Expres the thickness Neath aiwap moneaitvien Ciecath whoo BROIO see Sua cory Rteomen a faAvoid three symmetry and monotonous shapes 1 you draw ina note, you tend to align the shape, but inthe natural word ther is no symmetry or monotonous one. ‘Avid these Tors aed make Gem reaiti exprstions, Asymmetrical insects appear in three dimensions and move ailing Change the size and! direction of flow of hair bundles Change the size and direction of flow of hair bundles ‘Avoid monotonous shapes x Ops for “replication b / ‘hat wit surely improve ‘As the word "the eyes say things lke the mouth’, the eyes greatly affect the impression ofthe character To craw impressive eyes, itis necessary to be anare of the xeedimonsional effect and to ‘create the direction ard expression ofthe eyes Ttis Important, How to draw eyes Draw a circle freehand [AS you prepare to dram your eves, ty practicing a fechanded, beaut cce along the next four steps. D arta cess Q) Puma onalisdes (J) PutMarionat ses (@) Complete by connecting +E RG Let's apply to the eyes! { apalying the cre drawing procedure, you can daw your eyes quickly with fechand, While rotating the paper, Il be stable if you draw only witha snap on your hand. Especially useful when tracing ete @ ot cross (Q)Pweatan (B) Complete by connecting (0 (0Align the three right eyes If the direction is correct, you can draw up eyes, down eyes, and change the angle of the face. Make sure that your left and right eyes always turn in the same direction. Se ) yl Og F Even if the angle changes, the left and right eyes alvays tur in the same direction Consider the image of moving the center of the three right eyeballs lie @ dumpling into three halves Pi ent of yebrow If you get stuck, accessories such as eyebrows and glasses will slip into the back. You will see in three dimensions by doing mtiniomarinaanwnnnainn Q ) “1 ™ “re ) QI can see my eyes Let's practice to put perspective on eves while being aware ofthe three-dimensionality and directionality ofthe eyes. Ifyou can not imagine, replace the eyes with ccles and squares. front X — i X J Hyourepece tha ce... Diagonal fucan => > you replace Rwih ace... - Diagonal angle a fukan or diagonal ttt it becomes a circle on the perspective Iyeureglace kth acre.Match "number of strokes" with three eyes ‘The ball method varies depending on the character, but please use whatever eye you want. Let's be aware of the number of strokes in the eyes as well as the letters, and try to match them, 6 strokes eyes 5 strokes eyes »\ Fy. 4 strokes eyes 3 strokes eyes | ) ) )Raise the drawing power with "line drawing of the real thing" The power of drawing is greatly improved by copying. If you just draw good-looking pictures, copying alone may be sufficient. However, to be able to draw with your own symbol without relying only on the symbol of others, you must be able to observe the real thing and express it in the picture, It is because it is difficult to feel a sense of reality in the picture that you drew by copying alone. If you feel the wall of improvement by copying, let's observe while moving and take a picture of yourself, and draw while seeing what kind of movement you are actually doing. Tn this part, we introduce points for drawing a more realistic picture through line drawing of a live-action person. ° |3-1 Make a swimsuit character 40 8-2 Create a line drawing of a dressed person 44 3-3. Drawa face 50 3-4 — How to draw limbs 58 8-5 _ Distort'and characterize 64 a | be{tis more difiet to daw a line craving ofa real ting than crawing a set of manga and animation. “That's because tena represen tgs tht ae aa Sen cee aes aie ae Make a swimsuit character tho is eer the cone wath nes. Draw in a simple way {As inthe case of replication, 1 do not craw from the deals, bt fet replace wh 9 spl for Lets craw consciously to balance the whole, J Realistic body of tve-actlon fin Capture in siple fgures. We cut out a sihouette fom 1s ficult to make this @ ‘ARs time, only the Body's angle, the whole form. Image of raight line orauing ‘rectionaity and overall 2e carving a sculpture from ‘re consiered place of woodTam not too conscious of unevenness Be careful because if you chase the hit will be a Uneveaness too mucl 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. Just look at the outlines on the left and right, and draw attention to the overall flow and size. Ifyou do not have time, it will be enough practice even if you finish in 2 stages. copie eee soe Lock tom he fet and feta you do 7 noth ses stare at the details ana seem ene os x as Decide roughly dra Inthe details the size ofthe head, ‘ETS and its a finished sketch the middle postion ‘of the whole, the position ‘\ so it may be finished of the knee, et.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 aL Axis change effect ‘A proper standing pose Is not straight but the axis is changing. People tend to be unconsciously. Read and reproduce axis changes consciously. Put your hand fon your w nmetric! me Se. When changing the wait ais If you chenge your feet Right and left the same rhe center of gray is expresced Tt ocks mre ave a and the movement comes cut and make it more or lessInne with the ret ting “his ste fest ume Ive been able res touse this app on my Pad 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 of the foots the shape ofthe body. Hiroshi, ‘Too much to care about clothes, chasing concave convex and wrinkles, Not too much, "add cates to the body lke conscousness Lets dra it. 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 youre wearing clothes First ofall, ust look at the silhouette Tofilin the gaps It sounds difficult. «+++» To be single shape wil dar the details ‘Wrinkles and concavity of clothes Be careful not to add too much detailsDress on the base Even If tl, bose fs tothe end, Lees draw an image of seaing clothes to underwear Shirt Jacket Even th dots ke done ackats, sd thlekness tothe ase of the bodyHow to draw around the neck and shoulders ‘The neck and shoulders (bust up) is dificult part because the collar etc. are entangled, but the concept of adding clethes based on the body isthe same, Lets change various clothes in three dimensions Body Ls draw while being conscous of what happens to the neck three-dmenstonaly, upto the visible Sie ofthe other sie. Because the ances etaced, ‘te consid tat the mene ts shy behing Shuffle Scarf ee ae A J va YE MOY bs Suit + tie Hoodie 47 Beer notte make the colar WX A Wy | Mt 11 Se Align clothes parts such as tie and hoodie straps with the midiine Be aware that you are wearing the “head is diagonal" 1 “Tvee-ensiona! vier ofthe shoe oe Be careful not to have step couldere ifene a ea How to draw a skirt ‘Think on the basis of Lets draw while being avare of what the inside ofthe body is. ‘raw a tha the wait ith the image “hanging® In accordance with the tree-dimensional effect ef the thighs, bulging paces are ide intervals, valleys ae the dimensional in narrow intervals ‘A short skirt lose to the body with cloth added to @ miniskirt en — <0) c is, ~\) \ ns ) Draw in details = ‘Too much awareness in the nose Bring in and complete and mouth only makes it bigger vale maintaining BDraw various face parts/\\ /\ (\ WY \ SE ) Vos, =D) tS Uh‘To give the face a three-dimensional effect Lets look at how to improve it when drawing with an angle, the face becomes flat, and you can not give a three-dimensional effect. Here are three common | problems that wil be adcressed in tum. x Flat face three problems Wa \ ye tT a a is Problem ; : Ne rinsed iaeeeel el poten (Oy een Neck and head schepieer vertically connected Problem(3) tohead It looks like the colar is stretched because the contours are connected Let's improve one by one Let's be aware that the whole face is such @ three-dimensional ‘The surface ofthe face curves slightly towards the back, and the eyes and cheeks ofthe front are seen to be putty. In adaition, the eyes atthe back become narrower. ‘The back is clogged, the front is stretched, twill become a three-dmensional face if You draw your eyes on itAttach the joy diagonally back Since the head andthe neck are connected from there, the neck draws agony back Elminaton of apart of te outine am ine elmeates the error and loks Bivee-cmensionalRae the drang power ‘ny Tne drawing oF — ‘thereat ‘The end of the body, such as the limbs, isan important element for drawing attractive characters, For example, if You helé your hand tight, you can express anxicus emotions, and if you relax, you can express calm emctions. ‘Also, by drawing your feet nesty, people stand firmly on the ground. Here are some points for drawing limbs, but if you can not draw well, try to observe real imbs How to draw limbs Catch the form of the hand with mittens Lets replace the finger shape with a simple shape instead of following one by one. [tis easier to grasp the shape by dividing it into the palm of the mitten, the remaining fingers and three blocks. Like a thumb, Up “ Side “he back of the hand and the finger are 3 1 Lats be conscous of alo —— + Front 2 robes al on ner Tie ee 8 The fingers = are separated later! 2 YE ‘The above three basic forms + movable three can be applied to various formsBe aware of the absence of ‘You can see it immeclately, but please try while practicing the thickness and direction atthe joints. to change. There is no gap of, O Afinger that expresses the deviation ofthe axis, Be aware of triple axis misalignment ‘There is @ gop of Please put your hand on the table for 2 tal, Therefore, the wrist should be fcating a ite. = > In fact, gaps can be created by shaft misalignment ut your wrist on the table and your palm wil float!Get sharp with your finger ‘sled’ The bony upper surface is warped and the love surface is soft and fleshy. Let's puta sharp edge on that side Be aware of the midline of your finger and nail When drawing a figer with an angle, be careful to draw the midline ofthe ger and rail The midi ges three-dimensional feeling that makes a finger Be aware of the direction of your finger When you bend a finger, the tip of each fingeris directed to the middle A serge of directionality ication mate the fingers lok nturlHand draw by gender Each nas its own features. Lees practice dauing diincton Male hand Female hand Oy me VT | gC ‘| ; i NfHow to draw your feet ‘The foot is divided into 3 places like finger, back, and heel, and it is considered in the front, side, back 3 triangles when the front is a triangle, the back is a square, the side is a triangle + a square and a simple figure. It becomes easy to grasp the form. Front | Side | | oct \ ‘Simplify it into a triangle In consideration Of the rise of A square combinatio The image of putting 7 \ ithe sae on the board How to put your feet in space ‘once you have figured out the shape of the foot in the three views, let’s putt on perspective Tt wil be easier to understand from the state ofthe board at ft. Place the board an tile Spelte pase and 1D) scenes wk Aa the foot Shoe laces capture details in simple form at first ki > si a ® — Spaterrones, RIS Sera ns Lets think about the shape by "bare + soles + deta”Let's draw some cool shoes First of all, think in the form of a single line, divide from there and add elements, and let's draw various shoes referring to the picture below. Let's think that heels and the like "take ina lump i; and pull out the gap" JE Even bread + fork becomes foot explained in Miji as a board, but 1 do not replace it with something that I can easily understand. For example, even if put a fork in bread, I can express the shape of the foot. Let's draw various feet. »@ ( aThe line ofthe eal thing This the fest tine Ive been — able to use this apo on my Pad, Alot of characters like anime and manga , Ttis a model of peopl living in Japan, World-class Deformed. Inthe aration studio, the animators This is the first time Ive seen this game on the market. Here. To character Based on the way of thinking ofthe line drawing that has been learned, ‘you can use your own photo Let's take a look at the challenges we face in the future. It's a real person. Let's refer to the following steps and try to deformation of real people. @ the original photograph is used. @ lower the head <7 0) ¥ \ An image that squeezes the original photo vertically | \( always keeo the position tie i SoMake the character have a "dynamism" How to draw poses ‘There will be many people who have trouble that "there is no movement in the picture”. This trouble Ih order to resolve this issue, we must first be aware that the human body is heavy ( When a person moves, it means that the weight of the body moves. Te means that the balance is broken. Tn order to create a sense of dynamism (This dea is very important. In addition to it, you will eam how the shoulders and hips move, etc. Also, to understand how each place locks when it is angular due to movement Ttisa large piece . r In this part, we introduce basic poses such as "walking" and "running". hy You will be able to move the character freely by using the character,4-1 The basics of fukan and aori 68 4-2 To give the character a sense of excitement 70 4-3 Pose for "walking" 74 4-4 "Run" pose 80 4-5 "Stand on one foot" pose 84 4-6 "Having a heavy load" pose "Walking in a strong wind" poseHow to draw a pose _ that gives the character ‘2 sense of dynamism By practicing Fukan and Aor's whole body. ‘You will be able to draw the limbs and torso The basics at various angles, and if you apply it, you will | be able to draw a bose with a sense of movement. of fukan and aori Learn how Fukan and Aori look and understand the ‘compression and expansion due to angle changes in various places. How Fukan and Aori see Fukan point of view is high. The head is large and the foot looks small. Aori .«. The viewpoint is low, The feet are large and the head looks small Fukan (high point of view) Aor' (low point of view) Head = Large Head = Smal sh AN y \ |Be aware of Cove Not curves but curves. The ches looks wider in the case of Con andthe narrower Inthe lower body. Inthe case of Aon, the oppesite is tue, Draw from various angles Let's draw fukan aori from various angles while doingHow to draw a pose that = ives the character a “feeling” of movement Even people who can draw static pose well can ij ‘sometimes turn into an unnatural picture How to give the character if they try to make the character move, a sense of movement but the cause is that "the change in the center of gravity” can not be expressed Here, let's see how to draw a dynamic picture while letting the character take different poses. Feeling of movement = breaking the balance People tend to draw unconsciously, taking their center of gravity and balance the character But when you look at people in motion, they are rerly perfectly balanced, Even when drawing a picture, consciously breaking the center of aravity and balance will make it possible to craw a pose that feels ke movement, Perfectly balanced A\little balance Breaking the balance greatly | | —_ \ B le 0 9 / Just before starting to move Start moving by tilting the center of gravity axis Completely StaticVariousmovements and center of gravity By consciously titing the center of gravity, you can express various movements. Be conscious of drawing while thinking about what kind of pose the center of gravity is. walking ( Tent eve if I'm balanced faci SS ) ist ureokay ars “i ie \ AN \; Standing on one foot Carrying heavy things Balance while keeping in mind Balance peoples the person center of grauty weight and luggage wee \The moving point of the foot is in the “hip joint” ‘The feet move from the hips. Be careful because it becomes a stiff picture when the movable point is dow, lovable pont i under the wa Movable pints one DK Morale points under te waist Ore Real dynamic expressions can be expressed like real people It becomes @ hard motion like a robot or a doll I can move my shoulder freely By freely moving the shoulders, itis a rich expression. ‘The range of movement of the shoulders (moving range) is wider than expected, ‘50 let's move freely You can see clearly if you look at the movement of your shoulder while looking at the mirror Itloos hard if ‘you only raise your arms If you raise your hand, ‘your head vill move in tanger ‘snd your apposite shoulder val all — =e = ~~How to draw a pose = that has a “dynamic” inthe chracter Walking Is a pose that many people are used to seeing, j $0 if there are any unnatural points it will Walking immediately lead to discomfort. It is also a difficult pose that expresses slow movement. Let's look at the points for expressing a natural walk here. Walking seen from the side Let's practice the pose of walking seen from the side while confirming the points listed below! Be especially aware of anteversion of the center of gravity to make it look like itis moving forward TN < Sy uy SS ‘press meen ete sheers Ba > SO netenine | Ct __/ (Gee the batom ofthe right pode) | Make the center of gravity Jean forward with the - | kicking foot behind SS olownough Hai and ches and other scesorie ar alo ough Fem the main unitTo walk forward, lean forward in center of gravity ‘The picture below is an example of a common mistake In the pose of walking. Keep your feet open and draw In ming to bring the center of gravity tothe front. When you de nat understand, lets think with simple figures, Tan ark foward because Looks Ie ts back because ‘ith the kicking fot inthe back, Tm geting balanced the center of gravity is behind You lok fora te ‘walking a5 & whale Increase stride 1f the stride is small, it wll not be clearcut and it wll not lok like walking. If you are aware that the moving point of the foot is atthe hip joint, the stride will naturally increase.Walking seen from the front and back ‘The point of walking seen from the front and back is the “cross-sectional change” of the limbs. Express the context of limbs by compression and decompression. Front with both hands down Follow through the hair AEE Pec ioh see ‘yeapend shoulcers {id up in compression ‘The hand goes down, ‘The wrist is just beside the hip (see page 14) y The sole j= | is slightly inclined Be aware ofthe crast-section and compression ofthe amin the same wey of thinking es te Front Understand how the front hand looks from a side view )Awalk I saw Understand and draw the shapes of the side and front. In this case, you must be aware of the space unde How to order Itean be expressed by replacing it with a board and thinking and adding thickness to it. At this time, by érawing the board in space, it becomes a walking expression (see pace 62). us eahnot express ing oF wight oF Feeling af walking, <0 be carefullHow to carry your feet when walking In order to draw various walking bose, let's understand how to carry your foot in the following two steps. thefiststage Know the position of the joints. From the joints, knees, shins, insteps, soles, and so on constantly change, and this causes the feet to roll and the angle of all parts such as the calf become expressions of waking, the second stage It is an expression of muscle tension and relaxation. At each stage of walking, the shape of the foot (especially around the knees) ‘changes constantly due to weight gain and muscle relaxation. As thinking in theory is difficult, let's remember the form. First step: grasp the position of joints ~~ 7“ <_ “a ‘S © 3 6 ‘The point where the angle of the knee, shin, and instep is constantly chariaing LS <0 7 crossing the legs. it Tt looks beautiful if Second stage: expressing tension and relaxation hocks oe \ A . \\-Ld 2 ROBPEDSHow to draw a pose that = Gives a character a sense of movernent ‘The dference between walking and running is the presence of an aerial pose. Walkin salva with one ofthe legs attached tothe around, ‘but running has an air condition along the way. i Let's dravr while conscious ofthis point Please be aware of cothes, Running pose heir say, fllon-through etc. compared to walking and walking. Ttis cko a feature of the run that the twist on ‘the shoulders and shoulders is greater. Running seen from the side Please practice by refering tothe picture below, such asthe sane of hands and et height and upper body angle Inower to express the direction of tad, th bow fossa point right page column refer) a Neck Poi i ae Sbsca sinter . ai lerscea i ) by shaking ars ~ <------ ’ yo x, ; Sy (ee a oR Tt ry seoits ‘= Q Of) teneley m fe y= oN wth te kicking foot beringLet's be careful about center of gravity 1 Is too small, the center of gravty wil be behind, and the expression vibe lke applying the brake. Lets draw the Kick as @ whole, wit the center of eravty in font ofthe toes. CY \ eo IN ie cna of arty ot Express the traveling direction in the form of three By bending, you can express the direction of travel and a sense of speed. Beside box, Keep in mind thatthe sare expression can be used in various things such as cars,Running seen from the front and diagonal : Shapes. ide" on pi Nd legs, please look back at the "Run from the sic ing, be aware of the compression and cross-section of the front and oblique st with walking, If you do not know the context of the arms ar As. =e $1 = 5 PS [Se i tT SE ST pl yey wv a \ Cre nb Ws Lgl EEO I 3 2 c | SS es (Eyes) = [kos § » INQ we ic \ a RAG Ay — We UFR. \et ase rT ART i it NERunning poses Record you are running or reference from other materials ( Internet, ect .) and draw on your thoughts. (22%) a ey) A Heavy people have \ shore alr poses and i > C feet close to the ground i e ¢ bs * A KS P “The git runs in ng = the inner crotch | bx fins cy wy, “PN 7y Xo ly i Running in the crotch ey ie roughiad hcgh oN By) t if ‘Tothe character = To have a sense of dynamism How to draw poses ; one foot _ moder tomake the character fee! real Standing on Eases tebe by bing rare of te sere nt othe wil pose Tiss the ist time Ive been able to do tis Aste prac, wth ne foot Let's draw a standing pose . Basic pose A sense of sity can be enressedby supporting heavy head wt the sols ofthe fet and pratn uth ands to maintain bce, Pay attention to the ti of the hand and the tp of the foot, lets have an interest inthe character, Head, shoulders, torso, hips, wl integrated | Balance with the “back” |} on the bottom ofthe foot 2)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. Unify the direction of the wind in one direction The front clothes stick to the body The center of gravity is largeDraw consciously the center of gravity, ‘drew it with the center of gravity in a forward direction. IF tis strong wind, the point is to make itso that it leans forward enough to fall forward. By pulling the forefoot, {ine center of gravity is in front, and the force from the front can be expressed Strong wind can not be expressed ‘because of balance Consciousiy draw the direction of the wind The wind blows in one direction, except in special circumstances such as turbulence. Unify and draw the directions of hair and clothes. = ‘ — a ie ‘he recon Ro team S\ of the wind of the wind ) is flipping in bec fear ) fi seme éConsciously draw the direction of power The lower two pictures both represent the forward force, but the left shows. trying to maintain position and the right shows trying to move forward. This is the same Idea as lifting heavy loads (page 88). Stay in place I'm trying to move forward from there a. A Sos ¢ (Ll to Draw the wind from the front Even when the vind is drawn Fram the front, its exprested ina forward leaning posture. [At that time, the whole body leoks compressed and looks just Ike fukan, Let's be aware of the overlap of the body ofthe anteversion. Strong wind ~% ete a —s iy aLet's draw from an angle ‘Nowy, let's draw diagonally based on the contents up to here, ‘The level of difficulty is higher than the front view, but please try following the procedure below. D>) Determine the direction of the wind and ter UD) (Sedracton ofthe chara C) AY ‘K slgintiy windy atmosphere a Fai eke os ay ecehes Se Q >) Draw a perspective line according ©) to the character and draw a hand D Fi | = Moe 3) Draw arms, clothes, hair S ~ IA vy ay S 4 A state that cannot a Hf resist the wind Ka. 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 's not thrown only with hands, but with the head, shoulders, guards, and feet ail together. ‘The pot at wich th ball sts throng is Weak. ‘The bal finaly moves formard behind the movement ofthe torso. £175 too mcr you wile al stenght a the moment oF throwin, ‘Thethrowing hard 7 ot raed to igh, Jnedeton, te arc of both ets net tog ad cransina nual Sze Nu mans atl vay sae DX tm teo open, too wide Dx Tepaliseacing . ) — > G8 Gree \ a vy = DX Aims are too highthe most power Ne Lock atthe 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 cut the whole body Line is facing down and limbs are stretched a ea a’? ER Ve ee Sy Punches wit arms extended are not painful You can apply the most power at 8036 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 nwo examples, the body moves in the order of "Crush’ — “Stretch” Standing long jump| Ses | f AY ~~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.5-1 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Spat represetaton 5 7 ‘rd aye Basics of “Space purse” 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, 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 an the chair ‘The picture on the left is @ common mistake, ‘Take the following points into consideration and compare them to the correct examples x % i) can see the seat on the back side aa] | /\ — = ‘The seat surface is Imetol seomethe Too long below the knee Be aware of the squashing of the buttocks ‘Buttocks ar feting onthe ft and heels are lng fo the ees. ‘The positon ofthe ree goes dou by sqseeing the blo, tnd the exo andthe person aches {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 postibaLldl7S— AAR I. hiss because f the distance is close, the perspective line will be steep, and if tigclose it wil be loose. “The effect is greater the closer you are. ie = © © P SY XY {cube A (dose) cube 8 (fer) sbee | Difference in the appearance of the distance ratio Between the front and back. ‘The difference Inthe dstance between the ‘ear prt (pul) andthe far part (green) of cube Ais ire, 5 the perspective becames Eg. Tn cube 8, the dference between the near pa (Bue) andthe far How a person How a person part (elon) decreases sees cube A sees cube B 3. Feyelecal in cube A cube 8 | | Any chair is box based “The chair looks lke a cube stack. Let's stack cubes and drav various chairs. "Ifyou put a character on the screen, i will be easier to draw from a cube, ; ACA If the sofa draws a cube side by side, it is OKLet's put a person on the chair By applying the difference in the appearance of the cube described on pace 103, itis possible to craw the difference in the appearance of the petson on the chair. Let's draw the perspective ofthe person in the following order, using the chair as a guide, When viewed from near Eye level Set the eye level and decide the shape ‘According to the position of the chai, seat = waist, ‘of the rough box you want to draw. back = inside brow. Atari is taken so that the ‘Check the direction of the perspective line lend of the seat = knees. 50 a5 not to mistake which ine is on which perspective [1] The soles of the foo (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, ifthe distance to the object is short, the to vanishing points will be far apart If they are far from each other. Even at the vanishing point cutside the screen, connect paper to make it bigver, oF use clita tools etc; is Keep in mind: What is point perspective? “The ca thc if two paral nes in a thousand planes are extended infitely, {hey wl ntrsect atone point (disappearing pont) cn te height ofthe viewpoint (eye level. Ifthe object being vewed is clagonaly vewed frm the point of view, sts two-point perspective method vith two vanishing points, Furthermore, hen the objec is approached and the | stance ratio between the upper an lower sdes can not be ignored the heights also perspective, |_slt s expressed using tree pat perspective [draw detain a three dimensional manne, ual filin and draw a paren. baing conscious of attaching a perspective to Ge ewer ofthe leing of parpestive such os Neyo or Hef the direction and cross section suchas limbs. * eae ‘Cush te buttocks and thighs that core in contact vith the seat to express fesing of clove contact ‘th the chair (see 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. Eye level fe 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 pattems by pose yourself, look for photos, etc.Be aware of your sitting posture ‘when you draw Bose only inthe unper body, locks lke youVe stretched your spine like the example above Keep in mind thatthe © pose wil be sight backwards as long as the ceremony is not formazed. If your spine is stretched, just locking above your chest, Blue streaks are growing you do not know i you are siting When T 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5 Spatial representation _ ) ‘and yout “Perspective” a ee ad opisaaen onan eae Tepresertaton is requred betwesn the wo persons, Especally to learn by two people scart ete rad eye dea “ Tener te ho becares char Sepercing on how fa eet a facing each other Hrbatiean” i, dpe cry en here You sat te por the meaning of the picture is completely cfferent 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. ean be seen thatthe cap between the ot ‘0d te frame fs cute diferent for Camera (gren tne) arb ‘Camere 2 (yellow ane)Difference in appearance due to distance ‘The difference between boys and girs increases when viewed from near. Looking closer 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 girl 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 a ro | 68 | When viewed from further | | | | 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 Ussue boxes and plastic bottles, and see when viewed from near and when viewed from a distance Let's observe how people change. Nomsentensdens Mester 3) [ @ ay — | O , iL eS E =<” WKMatch the eyes of two people When éreving two people facing each othe i is also important to match their eyes. Let's look at the points to match your eyes from two perspectives. See two people from afar 4 I cannot see other's eves — can see that the girs eyes has turned alittle dowmwara, leads t such mistakes O T can see other's eyes “The boy's eyes are looking back) the girls’ eyes are aligned with the perspective, and the ‘two's eyes meet‘The boy's eyes turned to the left aaa paps Waa {In order to see the person behind you, re the boy's face must be hidden at this angle nd My line does not match My baby's eyes are pointing to the right Make eyes at ear position When looking at the boy in the foreground from the back, it is good to draw “almost on the front” so that the person watching the picture can look at it‘The appearance changes with wide angle and telephoto Even in the same scene, depending on the location you look at, let's look at the example below of the baseball stadium, Viewpoint from mound (wide angle) Its a subjective expression ‘seen from the pitchers eyes q “There's @big cap between people ‘Viewpoint from the back sereen (telephoto) Uke a field retay twill become aSubjectivity and objective expression By using two angles and telephoto, you can draw different expressions. Please draw in reference to the example below. Look at the smartphone (subjective) Family trust (objective) “The head is large, the font s smal, ‘and the afference sal This a subjective picture as if you were looking a it “he efec i seen a wating or “observing this family third-partyly Boxing (subjective) Road (objective) thas the effect of emulating the person In front as Ifyou were belng scolded “Thetis aot much cfference in the sit of te car ce ta perspective, Iris an expression of objective stuation explanation5-3 °= Let's learn about layout and gaze guidance. Layout is the "Layout" and placement of the object to draiv ina frame. This is also at. . one ae hace Sim cfstng tha fee glance te ofa Eye Guidance’ Inthe section, as an example, we wil conser how f to learn with things lke water towers and people of different sizes ‘with respect to the frame to make it easier to see. water tower and people With attractive layout ‘The lower two pictures depict a person and a water tower from viewpoint A. You can see that the lower picture is more powerful and attractive than the upper picture, but this is due to the difference in layout between the person and the water tower. Let's look at the configuration on the next page. eeLayout configuration procedure Let's look at the steps of creating an attractive layout with reference to the view from Mage's viewpoint A. More layout is a layout in which the guidance of the eyes is smooth, the ones you want to show first, the ones you want to see ... and the eyes move naturally in order. 1 «®@ a @ | Pace the object you want to show frst ager near the center and the next one ‘yu want fo show smaller than the others, ‘thernse salir Take the Ata of the purce that arrangement is established Here we take the vanishing point sighty above the water tower ZB s e- SI | @ “Take into account the size ofthe entrance, such asthe fvisile part outside the frame and take overall corssteney « ‘Compare the differences between layouts (Occ ns arp or Ons : x| A if | JI Lé } a | 5 Y Pi, LE LI SK) / c “ne object ark cam vague sng te nrg out, sd meyer dapaned te liace acne Seth When replacing the relationship between large and small |When the layout ofthe ralatonshp between the water tower and te person I interchanged, the person beccmes the center and the meaning ofthe picture changes. By changing the viawpoinc in this way, you can change the size and make free expressionBalance against the frame to arrange well ‘Now let's think about the picture seen from the viewpoint B. “The picture above has left @ margin on the left of the person. ‘Arrange in a balanced way to avoid unnatural margins. sting diagram SS xp ~~ Top of the tower in the order of people, large in the smile. 11 put it in place IF the vertical perspective is asymmetrical ‘The picture en the left is that the camera is not horizontal but slightly inclined, Ina stable configuration, let's keep in mind that symmetry fs the theory, 5 shown on the right. If the scene is blinding, such as when a gil falls off a balcony, it may have an asymmetrical layout. \, Vortical perspective is asymmetrical A symmetrical layout results in symmetricalExpress height Iisa compostion that looks dovn from the place. A the angle ofthe tir pieture, the shape of the bulng is vague end the height cen not be transite. (nthe other han, in the pcture below, the helght is expressed by the compression atthe lower part of the bung and the contrast betreen the person and the enence. Seti digg rome] x (; | ae ‘Te building looks Nat and the height Is not transmitted Express the bight ite tckness ofthe buldng| Make eye guidance by silhouette of body This form allows you to create eye guidance throughout the body. People dose to Nimela have clear and complex silhouettes, so draw therm 0 that you can see the postion of your hans and feet. (“~ } ‘We can make eye guidance from the top of the tower to the groundHow to draw a water tower If the three-dimensional structure of the building can not be drawn well, first look at the front view, the side view, the top view, etc., and ty to grasp what the overall ratio is in a plane. Focus on the size of the tower relative to the overall height and what is at the center “The top ofthe towers oo thick or the whale Buln, ‘and the tep ad botom ofthe tower are not consistent. ‘Ao te entrance fon perspective O x |an example in vie the buldng body the upper part and the ewer pat ofthe tower are agned, and the bens drawn caeci ‘The margins of the four ecee are a gue tothe over Understand the plane and draw a solid form If you thin in three dimensions from the front view (side view) D+, + top view, there is ne mistake. Make sure to always grasp the plane if you get lost I HS, [eb iwi CF ‘Front wiew ( Side view ) “Top viewOther eye guidance methods ‘There are several ways to create eye guidance other than the ones mentioned above. Please try the following example for reference. Light and dark By the use of simple light and dark As in the pic above, the eye line is guided Eighth character Tes easy to gukte eyes toward the center when itis pinched Backlight Design to look at the person by Bight and dark Gap with mob R Mobs (crowds) can be arranged in @ single block, ‘and you can guide your eyes by creating mergins ‘around the characters you want to show5-4 Buildings, rooms, See 3 Je NE el OLE . based on the size of people, so if you draw things and people, Draw things you should lays be aware ofthe relationship with people ‘the book, let's draw various things and people while keeping and people this point in ind Draw a house x people First of al, lets orasp the scale feeling of the hut (here, about the size of a prefabricated one). “The entrance (doo) of the cabin is sized so thet people can easily go in and out. The height of ‘the foundation (concrete part) of the building s about 30 cm to 40 em from the ground. ‘Although the width and height of the building itself vary, it looks like a cabin when drawn based on these Contrast onthe premise of looking ‘ut the window from inside the house “The door Is contrasted on the premise that people come an goHow to draw a three-dimensional roof Before drawing in three dimensions, let's first grasp what is the cross section in a two-dimensional view. ‘Then T will put it on perspective. At that time, please be aware of the thickness of the roof. Grasp the cross section Put onthe perspective “Three émensionalized in consderation of thickness ae | j | As te hat hen he f Gets nto perspective, the Fort sone necames tight and we So pe ight the back slope becores loose. > Near sce Compress the sides \When drawing the side ofthe bulling from an oblique anole, be sure to compress the side properly 0 thatthe entrance doors and windows do not become unnaturally wide Lets be conscious oF the front vei in the palaee, and think about ‘what will happen when perspective is attached to it. SX aint trl compesson O Correct side compression Doors and windows ‘when viewed from the font, ‘that malas the ae of the door and contest ith human size window becomes unnatucal ae Give the building a sense of weight Wen crawing 2 constuction ste, you Wil feel a sense of weight you craw fs rooting on the grou. Let's rw consciously. ec, IL fale contac ith the groundDraw a room x people ‘Te draw a room, frst gragp the plane and crass section, and put it on the perspective and think, ‘The following example shows typical room and furniture dimensions. Please draw a room at various angles while referring to It Side view 2 Side view 1 a: a _ Hl 1 a ‘90cm 200en 240cm 24Den 180cm 40cm 90cn "90cm" 40cm 40cm Perspective view Top view 100en an woe Let's measure the size of your own room! Add people to draw while keeping in mind the contrast with the size of the entire roomTips for drawing work shop well Based on the three-bage setting, let's also keep the following three points to draw a room well Be aware of the angle of view Proven) ‘Blea sate hr thebadstge ison, otf ven 2. eau is iy doe when ved you want to shoct in telephoto ina movi "Front ofthe bookshelf the Yoiay monte ean oe serspciv rece lage sn te ante screen © dstoresd I he x) saat i ie aie q = Ke Desks and accessories are placed Con the premise that people use ‘opr te const between the bes DK mevecin tn art be rethe peor nan seed Stead ose fom teeDraw a car x people Even with the same shape, it will be completely different depending on the size of the person standing next to it. Let's first learn the contrast with people as well as the shape and details of the car People are big People are small O + | | Looks like @ small ight truck Looks lke a large tuck How to draw a car Follow the steps below to draw a car. In step 1, referring to the chair example described on page 104, draw different figures according to the distance from which you are lacking at the car. ® —— a Capture by car + box and place on rough space athe:bow ws make riore'spectne {if there is ite distortion of Perth from a distance) Dont forget the contrast between the whole car andthe tires. Sportscars have large tres, rminicars have small tres When viewed from near boa “| i A ao gies 1 draw details in a way that is conscious of three-dimensional left-right contrast. Mirrors, doors, and windshields are drawn with a sense of size that is (Note that the way In which it looks lke 3D, such as the tire behind can not be assumed to be used by people ‘seen by compressionTips for drawing a car well — ‘As other points, please draw in consideration ofthe following points. —— -_ é r=, “ff Eas SHES ER amps the sks sta th ft an bk ofthe car are no tno lng Ie e357 to understand the correct form I You (D time tre compression © Be aware of the car's face Ob 3 ie eaten oe cr permet bs a te foc get balance i the face that the inner res compressed apes ie mies ee baer a FD contrast with people inthe carDraw tree x People ssp cm i tem amnsoncs ame Bear a sae a ena Caneel eran Drawing different tree x 30 years old trees gly Teun and bran Is fulloflenes Te exe onthe let does at kno wnat the trunk oo hick Tin banchas ete the aves, 1can ct nt ith Yurimage, “seve te rely and da the He Ihe te ight CUE Differently tree in contrast with people Like a sacred tree 100 years old tree Even the same tree looks different depending on the contrast with the person ZATips for drawing trees well In order to draw a tree naturally, please be expecially aware ofthe following two points. 1) draw without symmetry (D) cna tered ender re doe “There are not many trees that grow symmetrically in the natural word, so it looks natural ‘when dravin apart. Its easy to understand if you thinkin simple form lke the lower part Expression by unnatural form To draw a tree in three dimensions, you should consider your hand asa trnk or ranch and be aware of the space between the Branch fn and te branch in the back ‘changing the Form of the tre, various expressions are possible, Please use It acorcing to the image you want to use. \ A 5 aC pe an Rounded form. Image of warmth of hardwood, pleasant atmosphere, space of fairy A form lke willow tree Spooky image that evokes ghost Aur oA fF Nal ym Sly fom. tages of coniferous eo, Dead tree form. Desclate and lonely image‘Spatial representation and layout "Space beat” is a coined word of the author. I'm calling a way to create a space by placing a certain large object Draw space freely ina manner that cuts the beat towards the back. jth 4 By drawing with space beats, you can create space with "Space Beat’ independently without relying on perspectives. Here, let's start with the basic idea of spatial beat, including differences with perspective drawing. Preparation for drawing with space beat Draw a plane For example, when the same size is ined back toward the back ike 2 telephone pole, its possible to draw a continucus space while keeping the perspective by ‘viding equally at the diagonal and taking the intersection, This is toward the vanishing point Its possible (ight) to go through the “one-point perspective” method of drawing a perspective line (right). sa ple Sapa anes arishing point > [fin 2 you repeat th Itecomes the same idea 9s srg point perpedtve projection method Draw a curved surface front side Few ines = sudsen oS lrreguar curved wall >! /) ict Many ines = lose oN Inthe spatial beat, @ curved surface can be represented by the Censty of lines (interval diference). IF you want to daw a surface In perspective, you wil nee multe vanishing points. This can alsa be appled when drawing 3D rock wall an skits (page 49) oe !Draw in space beat Let's draw the space where the person is in using the beat of 3. You can draw the space freely in three steps below ) Drawa cross section Draw an L-shaped cross-section, drawing two ses, ' such as a floor and a well, and a road and a pole, centasting it wth person @ Line up the cross section © Arange the cross sections drawn in Pace smaller as you go back © Connect the tines @voucanceate space based en people remedy ibe esoPlace people based ‘You can use space beats to lay out based on the movement of people. This is one of the major differences with perspectives. Let's compare the following two pictures. When drawn in perspective (perspective goes first) Placing the pe-son in tine with the perspective line extending towarts the vanishing point results in a linear, boring mation When drawn by space beat (person first) wp iin i oes feallepeee ne nentsee Make a cross between three Spaces wth floors, wal, and csling tte top bottom et, and ight, such a the east er and walkways, ae daw wth space beat based on the cross section, If you can draw in both perspective perspective space beat If eis the space ofthe sme cross section, draw to the back with a feed square. Be careful not to break the aspect ratio ofthe square onthe petrise of cantras wth human beings When space beat is easier to draw ‘Since the space beat creates space by the cross section of “person pace’, highly versatile expressions such as up, down, curve can be madeDrawing paths and people If you think that cas are for people to eve, and roads are for cas to travel, can be sald that roads are flor people to use First ofall, cragp the contrast between people and roa fmiyin the state ofthe ccs section, ‘an rake @ beat on the back inthe procedure on page 129. CC rac sn nit in inc i dp ein rl 000, Romdnay —Gumterlane Roadway ® Pile up se cose acon st by sd the fant or backx “The central ln Is off the mile of the road. Draw a fked cross section Bxample of not being abe to keop the width side by side (S02 page 131) wide $025 to be aware ofradlation of Perspective projection Keep the road width x “Te perspetve snot considered, Consdousy draw perspective compression and the rad with can nt be Ket on the front and iesDraw the aity and people Even when draing a cy, lets fst hold the contrast wth people frm. “There are many things suchas bung, telephone poles, signboards, shutters, ‘utoor units of alr conditioners, ec. that are fixe In sie aed can be ued to Compare ith people. blag aeons. @ Divide the area roughly SAMS igs an ee el anno ee ae > a Pile up scr night te sya po, re ie of te an he fh oO =LA.J~ 3 aa | Tips that draw the city well Compress the sides “The walls and windows you see ae too wide ‘Match the left and right buildings [As we are standing in the mide ofthe road, ‘we can not see the side ahead three cases, the section is more visible x ‘An examele in which only the perspective of radiation i ditracting and you are not aware of the sense of ze on the ket ‘Alon Left and lah ‘ies vith Equal Distance LayerDraw nature and people AL first olance, inthe natural worl it seems that theres nothing of a certain siz. However, unless it is primary forest, such as Hoshiyara, ‘some human beings are aed in some form Ike artical forests and roads, ‘and bees with similar ages are dense. By contrasting these plants with pecple, nature can be drawn with spatial bets raw a cross section vith reference tothe width ofthe road (lowing Hoh trucks to pass), ete Draw a cross section While Keeping in mid the contrast between trees and people, arass and people aa. cnr serine wmne tome ® overapring © Redine Tak Bukhy dd Row’ neue oe peook phish ierrernenpircreddraw detaiis and fil in betvieen Fill in between the cross sections lined up and complete Tips for drawing nature well 1. Space baton relay 2. Mountain perspective When hegre so ama that you can nat ee, ‘he aged of te shove a the meuntun is more complex ‘teh e sandhd of eonteat oo arge bee when cose end svigter when fr anay 3. Flower perspective ‘he niy Toners are hee dimensional and frm afer angles, 3rd the backe3 fat thousAppendix at the end of the volume Let's review in correction example Here, from among the correction results of "Anime privately" sponsored by the author, I will excerpt some works and introduce each page, the upper part is the work of Mr. Yayoi and the lower part is the correction by the author. You Since the points for improvement along with the contents described up to this point are also described, please compare it while referring to it.you place he person you want o shot inthe main (especal he face) shy loner than the frame and make a layout that takes advantage ofthe spe, the shape ofthe bulding wl be cle. so, by ging two peopl @ ig and smal Aiference to give a sense of perspecthe, and expressing the cretonalty withthe stairs, you can create eye guidance. By ding ts, you wil know what you want to convey.If itis the picture of the subjectivity seen from the person in front, it will be good ‘to express it in the wide angle (page 112). The grass in the foreground is taller, and the person and bank in the back dravr a little smaller. It is effective to draw the angle with an angle. In addition, the sky is ‘shown more widely, the eye can be induced by placing the ball in that space, ‘and it will be expressed as shouting "T have a ball!"eae an ae eee ee ae Pee eee ee overlap the silhouette of the left person and the boy, Care ee iae Tettonstipbehveen tha te (0p 2) Remember to compress the building side (gir’s entrance, top 2) and the ground plane ofthe carriageBHMTES SUL ES Inthe picture above, the note appears tobe too large forthe dek (above 1) Keep your desk andthe things around i inthe corect 52 while comparing with people, ‘The buttocks shouldbe aware that tne pat in contact with the seat surface of the chal wil collapse (tp (2))(See page 102). ‘In adn, if you ston a char with 2 natural posture, you wil feel somewhat lean-back (Sze page 107 )At fst me understand the cross section ofthe sas ‘And the upoer and lower floors aso keep the cross section. I understand the distance of the upper {and lower fcors from the viewpoint positon inthe igure seen from the se, and iragine the sense of distance. Dont forget to compare hendtals and stars wth people wo} Fr Key pee Lh} Me Bing Fy doz Bae clet's express a more sad feeling. ‘The receiver is the best expression by not showing the expression. Imagine. In addition, let's arrange it in the center of the frame so that two people can see it in the main. “Effects such as buildings and splashes can also be used for eye guidance IF itis an expression such as "immediately before the destruction of the earth’,BMTA SOUL ES Let's arrange its thatthe sating of protagoist to confront the enemy" becomes dear The effects ofthe fame can be reshaped freely nd can be used fr eye guidance. Inadeition, center onthe destination castle an lets express it as beng Blocked by the enemy‘By making a person in frat larger, I crestes an are onthe screen Promotes eye guicance to the person behind (see pages 114 and 115),icin OF ‘As the person's face and the ball are the main ones, center them on the two (see page 115. In addition, the expression with the movement thet the goal Keeper was scored by the movement of the defender by putting the hand of the goal keeper on the character) Because itis a one-cut action, its alo effective to tilt the camera (see page 116), ‘making the back building smaller by the wide angle and not getting in the way of eye guidance‘The background is fine Inorder to create an turn around end add Yau can also create a ly dravn and the height ofthe artstry can be seen, ‘atmasphere, let's make the person bigger, ‘an action that is looking for someting ori os Smooth eye guidance by creaung a space ahead of your eyesBMRCSSESOLED “The perspective ofthe person in front is effective, and the drawing of perspective Is ako devised .RMBNTHS SOLED ‘Be aware of how much space there is between your desk end your desk. People can no sit inthe space if there is nt enough space fora least one desk, Even desks can be drawn by applying the idea of equal division (page 128). Lets craw the toy onthe left se conscious ofthe collapse ofthe butaeks (page 102) e Bays cay teal caer | Wh: AMMA / QM / CORR /B4EER/ 0 Gohan /BERE/S-FH EDHIROVDEFAORYIS NERS e eee eS Tle a Dy ride aa ee ete el Ee Rc Dabs 5 VA aes ee sien Hl »PEMECADMLIG! BUSH) YUEybBKB! / 1eos BK REDUT. si) ABA MA to ay422"—v) FO74—W DH Dae SABA -B-F—b 2 1999.03.15 bas 2 RAUB aR 5 150em ne 28 ae EHC SL B19 MD "i ee FeOLRAYE RSB (VAY RAF y PHF) Twitter © @nemoto_nagi piniv 11797412 Moray kaxk—w BAR ADAP DAU NOEL eae ye META KVEBRTS piniv [>< Rul Fade 7h) H. FAO ORM) EFI PARWEL CH ORS PYZAB-ELT EBM FAERPIIOZEMIBL TN aavh, fea ma CES OT OVD ERET SRO, DVDTL-1—-BSHi PCOMMAE INIT TH OBCEDET. CASO BPYPNGzT ADVAN TREA, ECU OTH, AAT SRMOMDRURARECERC HSU. Of OVO RHE LRTI SS WHRSRRCNUTS, HURO RMB —VORLERUREA. ATURE BAOMEEKUTH TCHS, OHROVO DAES HAATAMICRRT SOARS, MIL LUR PE ORM LIC, HW RAS. AE RAIA WeaEEA,B PIL 103~106,144 ray 11, 68, 69,106,154 RSeh, 10 LORE 78,79 ie 17,78, 82, 94,117, 124,124,125 ,195,143,144,168 ORD 79 ELD 98, 99 BROOK 21 102,145,165 » a 92-95 B 16, 46, 52,72-74, 80, 06 ayahiat 16,72 BR 58,72,74,75 HOE 25, 98, 76, 92 x 126,127,136,197 eB 112,113, 2hge—b 128-187 a 8, 9,18, 51, 53, 55 # 62,63 # 124,126 ne 108,112,118,141,161 FeO 10,11,15,61 aN 120 s #eAL 59 ee 4a yay 45, 46 Bo 81, 49, 70, 71,74, 75, 80, 81, 92, 88, 96-99 112,113,141 10 10 30, 48, 49 46 Bab 47,49 BAR HECK) 10,18, 61 BLABIECB 18,61 EPR 46,60 ORE 82 seis 20,21,45-47 HOBEDIT 15 gay 124,125 POI. 7 9b 45 TBE 98,99 REZ 116 F74Nr 64, 85 BRD 104 ,105,128,130,131 a Be 83 AISA 46 FHOREDT 10,15 ,61 ie Kha 48 a 8, 9,51, 53,54 SIE 48 RB 13 740-20 74,76, 80 Day 11, 68, 68,106 BE 122,123,142 23 108, 109,112,113, Bow 17, 96, 97,151,154 cs 26~29,41 Se 74,75 y73— “6 BS 35 x 8, 9, 61,53, 55,111 8 8-10, 34~27, 50, 51, 53, 54 HOR 36 Be 74, 80, 84, 97,110,111 143 Bina 114~119,140,147 ~152 BOB 37 2 ae 58 nae 103,106 Lara 19,114~119 BA 10 nity 6iABE Z024~-0 SHURE wou ess) PHA-9~, NOEEEN, PRAPERRE AVIAPT VICI BME INARUTOS 297909 SFMBNR i, QUIRED HEBERT. PEI) KRMES MS SCCEM, OBIT MHSFAS, WELT H XE BB) EPARLL, B OEM ICED I>, YouTube, Twitter FC/OANTEA! BOWIRUVI-F—DEAREBGLTS, BSOXCS MR (OM RM, ME Ai ayT): J INARUTOI [kK 50) TRARY LY. BRAN, Fr 2 PVA SRB : Bi QUIK DZBA, DUADARARIR [1B96SLO POT F 4) [LGSMMOPBARI | WWROT 7] [LOSBSORwR SJ [ROR Silver Spoon] F#3BO/5/\5—b GENESIS] a S3K,DvDEraie/ PIAL BRCIhCCHIISASICBS+VSHHORM 2017111 2017 12 4 2s stmt STs Bw ROM PARAIOAF LYS F 106-0032 RRMA ARH 7-2-26 http://www xknowledge.co.jp iM Tel: 03-3403-5898 FAX: 03-3403-0582 Mall: info@xknowledge.co.jp Hi} Tel: 03-3403-1321 / FAX: 03-3403-1829 AMERORE SHORE OER, BH 152 MME) RUA COR RRO ME LCM MEER AS T—P°- RADIAN AYI—AY | COMMEL)FSLLEMUST