Techniques for Drawing
•- </■«
v$m.
Written by Hikaru Hdyashi
II I

Techniques for Drawing
Female Manga Characters

Table of Contents
Cnapler 1
Dre«wng to Female Figure. The Baste Rules .... ... 5
The Three Basic Rule* lor Drawing the Female Flgu... .6
The Hunan Body .... _ 6
CharacteristicsoliheFemale Figure.. _ 10
SoergtwBodyas a Wire FramoandwWi Contour Shadow*. 12
Drtereneasng Body Types _ - M
Some Tip* (or DBIororilbatrng to Three Physical Types.. 16
ftrleiences n Figure According lo Age , , 17
Dflartron ol Face According lo Ago. _ is
OS A »
Chapter 2
Drawing to Female Figure: The Paris ol the Body _21
TruHO-LHevs Manga
YrtKtoEMO^atearHjWhsltoStmplrty .... 22
Ti« Breast* _ »
EiecbVouCanAchievoWiniBioeraatav ... _ 36
Bust line Fashion Statements _ 36
TheBuOods 40
DfleremVtewsol the Buttocks _ _ 4t
Tbt Contour ol to Buttocks - .42
EntctsYaiC^AcNevewnhtheBunocks «
Tr«Crofch _ _ .... _ 46
UsngCurwdUnesloShowDrrivntlonlntieCroUh 4$
Iht Lower Body in Acton ... 52
TntRelat>xiB«tvwentheOunocl(*.Crotcri.andLegs _ .54
The Legs _ _ 56
ThtNock-r^nnectingtheHeadlotheBody 64
The Bant Back -When You Cant Draw a TaporodWaitt 66
T>*EtlectoiyndcivvearandBathlngSuiraontoFemaleFigure 6B
Water Droplets and Beads ol Snoot 70
Wire Frames -Getting a Grasp ol the Body's Curves . 72
ligng Wte Frame* 74
O&A .._ — 76
Cnapter3
Drawing the Female Figure: Usmg Dotal lor Effect
Mkxent Types oINaHs _
Elw.EyeW*. andCyotasnes.
The Mouth and Lpe..
Effects You Can AdMve with Black and Shaotog...
The Ears and Earrings ..
The Mali _
64
86
86
87
Coloring the Mair _ _
A Catalogueol Undergarments
05 A _
The Female Figure Goes to School ,
t Getting Dressed: The Btouse.
2 Ge*ng Dressed: Shoes and Socks
3 Getting Orotsed: In From ol the Mrraf. ..
4. Rumng Down the Halway
S.SrrungonaChalr...
6 On the Playground al Noon- In UnMorm..
7. kitheLocfcerfloom _...,
8 Dressed (or Gym Class
9. More Tips tor Drawing Gym Clothes ....
10. ReguMson Bathing Sua* _
it RidingeBicycle
12. On the Way Home- Wafting Outdoor*
Ctiapter 4
Learn (rom the Pros
Girl m MKWy Uniform (Masaru Kaku)...
Beauty wnh Bouquet(Jun Matsubara)
Aluring Adutl (Yasuo Matsumoto)
Dream Fantasy (Mono Haroda) —_..
Girl AMete (Bancho Hoshmo) _
Sexy Babe (Ganma Suzuki)
Humorous lustration (ShokoAndo).
Coqucttsh Maiden (YuManabe). _
Clamourous Beauty(Nortyoshl Inoua)
90
96
97
97
96
99
100
101
..KJ2
-103
104
105
.106
.107
103
108
110
112
114
116
118
...120
122
124
..126

Chapter 1
Drawing the Female Figure:
The Basic Rules

The Three Basic Rules for
Dr g e Female Figure
Avoid Straight Lines |
The female figure is soft and supple. In order to
express Ihrs quality, use rounded Imes as much
as possible.
►Envision a Triangle |
Shoulder and Hip Width ol the Male Figure
The lemale hgure characteristically /
has a larger petas than the male
figure The nips should be drawn
wide.
Mien blocking out you drawing
it's helpful to think ot a triangle
whose base «s the width ot the
peftts and whose apex rs the top
ot the head
Mien drawng ihe male figure,
the shoulders should be wttx
than the hips
When draw ng a woman
with broad shoulders .
Even when b man has narrow
shoulders, the hps should tie
drawn narrower than lho
shoulders
A woman with wide shoulders
becomes mote lommlno it
drawn with her hk> sticking
out.

^Envision a Figure Eight \
First draw the heat)
it helps to draw a guide line
down the center.
The secret to drawing a shapely
female figure is to give her a slender
waist and broad hips. In essence,
you want to think ot a ligure 8
2 Orawa ligure 8 tor the body
under the head.
3. Draw small circles where the
arms and legs w>l be atlached.
These wi become the joints
4 Flesh out the watst and draw
the arms and legs
■ You can vary the body type by drawing a tall y
and sScndcr 8 or short and squat 8
■ The size ol the circles drawn tor the rOirtts
determines Ihe thickness of the arms and legs

The Human Body
The tlesh is essentially clothing tor the bones. Ask "What kind ot
clothes do I want these bones to wear7* You can creale an endless
variety ol ligures by changing howyou "dress* Ihe bones wflh llesh
Wearing overcoat
In skirt and blouse
In undergarments
8

The human body is built upon a skelelon of bones, which are
covered wth muscle, lal and skin Bone structure and the llesh
(muscle and Cat) altachcd to it vary trom person to person.
Nude
Transparent view Skeleton
9

Characteristics of the Female Figure
The lemale hgure is defined mosl
prominently by the bust, the waist,
and the tips
Neck A thick neck makes the liguco
look like a small child: (or a grown
woman, draw a long, slender neck
Breasts. Shape, size, position, and
preferences among breasts are
as vaned as their owners
See page 22
Ribs" A lightly-drawn r*> line gives the
stomach and torso a mm look
(but be carelul: i the line is too heavy.
fl creates a gaunt look).
Hips: From the tront. the widest part
ol the hips are determined by
the bones
Crotch: There is arnays a space
between the thighs at the
crotch even when standing
with knees together.
10

Tho shoulder, upper arm
and armpit are crucial m
Showing maturity.
Immature figure: Even when the
arms are idled,
a single Ine IS
adequate lor
showtng the armpit.
The tapering ot the ribs
Mature figure The armpit must be drawn
to show three-dimensional
contours
1 he wxjih ol the pelvis
The difference between tlw tapering
ol the ribs and the width ol the pelvis
determtnes the sue ol the waist
Note that the position ol the waist
is slightly di tcrenl when viewed
tromihe from and the side
The line leading down to the navel
expresses the subtle curve ot Ihe
stomach and lower abdomen
Fromthc navel down to the crotch
should appear as a gently rounded curve.
Youcan achieve this mpression from the
Ironl by applying scrcentoncs
Tho position of lire navel should
be a tUe below the waist and one
hand up from ttie crotch.
The curve ol the crotch can be either flat or mounded
11

Seeing the Body as a Wire Frame
and with Contour Shadows
12

Shadows Formed by the Body's Contours
When Illuminated
13

Differentiating Bod T «es
II you understand how the deferences in
bone structure and body type affect their
proportions, you'll be able to draw a wide
variety ol female figures
Qhe Average Figure)
14
■ The stomach and lower abdomen are both slightly rounded.
■ The chest and body as avifioteare curvaceous, and the torso
is quite short
■ The shoulders, arms, and legs arc al somewhat tieshy. even
when me legs and arms are long, they have a fullness to them
■ The sides of the chest and raps forma shapely curve.
■ The hips arc broad.

(The Athletic FgureJ
The neck is long and slim
The shoulders are narrow.
the chest is thin, and the
waist is small
The torso is relatively long
The arms and legs are long
and thin, without excess
muscles.
The sides ot the chest and
hips form a much gentler
curve.
■ A prominent breastbone
- Broad shoulders to house
well-developed lungs
■ Limbs are drawn more
tapered at the efcows and
knees, wrists and ankles
(but be careful not to overdo it.
or you wll create a booty look)
■ Although the thighs are thick,
the muscles taper at the knee
creating the sharpest curve.

Some Tips for Differentiating
the Three Ph slcal T es
The key points to note are
l The curve Irom Ihc back to the hips
2. Tne line from the shoulder c<own the arm
3. The it) line below the breast
t The thickness ol the thighs
An athletic ligure superimposed on an average figure A sienoef figure superimposed on an average figure.
16

Differences In Figure Accordin to Age
Fuger length represents one ol the
most prominent differences between the
tigurcs ol adult and chM Also, tor adoiescont
g»ts you can create a youthlul appearance by
drawing the body ol an adult, but wtlh more
rounded hies overall.
Nock: Thick and
relatively short
Shoulders. Rounded
I mtos' Fven when long.
not lufly extended
Wnsts 8 ankles,
relatively thick
An adult iigure
An adolescent hand
Large head
Thick neck
Flat chest and hips
Barcty tapered wrists
and ankles
,.<} An adolescent figure
Some Rules of Thumb
A child's figure
Age range
Height by head size
Curvature of body
Wrists & ankles
Limbs
Drawing tips
Adult
18 and up
7-8 heads or more
Yes
Slender
Long and fully
extended
Draw the head
small; make wrists
and ankles slim
Adolescent
131017
S-7 heads
Some
Average
Not fully extended
Draw the pelvis
relatively thin,
keep arms and
legs relatively
short
Child
1? and under
5 heads or less
Almost none
Thick
Not fully extended
Draw head large.
arms and legs are
like sticks
child's hand
Note: Wbmen m the 18 to 19-ycar-oM range will have etements of both
the adult and adolescent figure.
17

ifferences of Face According to Age
Todriterentiate the (aces ol adults and children.
pay attention to these two elements:
1. The distance between 2. The bridge ol the nose
the eyes and the mouth
Proiiies m manga-styte drawings
Proliles in lustrator-slyle drawings
Adull
Some Rules Ol Thumb
Distance between eyes
and mouth
Shape of (ace
Eyes
Bndgeofnose
Neck
Head
Adult Featurea
Farapart
Slightly longer
Small
Draw clearly
Slender and long
Smal
Child Featurea
Close together
Bound
Large
Don't emphasize
ThicK
Large

Byadiustmg trie distance between eyes and mouth,
you can driterenliate between an adult and a child
with or wflhout the bridge tine drawn in.

What if you want to draw an older woman
Q& A with a round face, or a child with a slightly
longer face and pointy chin?
Answer i>w|(haioundface
i Keep the eyes small
2 Maintain distance between
eyes and mouth
■ Answer 2
A cJitW with
agrown-up face
tf^fy
■ For a somewhat bafoy-taced look,
make the eyes larger.
■ Round faces tend to look too large,
so t helps to reduce the amount or hair
1 Draw large eyes
? Tighten the distance between eyes and mouth
3 Minimize the nose
4 Make the head larger hy gwing more volume to the hai
■ Smaller eyes always make the tace
look more grown-up
' It also helps to draw large ears and
make the neck shod and thick
A Grown Woman wilh a Round Face
In order to make a woman vrtn a round lace,
large eyes, and big hair look more grown-up
i Give her along neck, and draw in
the collarbone
2 Drarwhor hgurc to aduH proportions
3. Broaden the shoulders and use
other means to make the head
look smaller
20

Chapter 2
Drawing the Female Figure:
The Parts of the Body

True-to-Life vs. Manga
VWiat to Exaggerate and What to Simplify
When using a photograph or other model lor
your drawing, exaggerate or simplity various aspects
oi the model to create a ligurc that suns your own taste
Tip # 1 The distance from shoulder to breast
II you lefflow the model too closely,
the breasts can seem oddly distant Irom
the lace Unless you arc striving lor
a realistic ellecl. position the breasts
a tie higher than they really are.
Torso line
lip f2 Oiv>:ng the breasts
in real ite. breasts seldom protrude
beyond the torso lines unless they
are very large Bui to represent this
accurately makes lor an unappealing
Irontal view, so
Extend curve ot
breast beyond line
Short
Long
Tip»4 Knees
Keep the knees simple A single arc is al (l takes
to create cute knees
tip»3 The legs
In general, the thigh and the shin arc roughly equal
n length, but drawing the sh n slig illy longer makes
2 > a more attractive leg
Taper waist to \v^
inside ol line ^5

c
The Back
The contour ol the back ncludcsmany
bumps and dips, but normally only the
lotowing need be drawn.
1. Lines for the some and shoulder blades
2 The buttocks
Tip »S: The neck
Draw the neck longer and slimmer than the model
At some angles a longer neck may look odd.
(hough, so care is needed
Back lip*l. Creases
Tip #6 Taper the waist sharply
The angle Irom armpit to waist will olten leave
the figure waistless 4 drawn realistically, so it
almost always calls lor exaggeration Follow
imaginary lines drawn Irom the armpits to ihe crotch
Many creases tend to lorm around the neck
and shoulder blades as well as al Ihe waist.
but you should omt most ol them lor a prettier back
Tip $7. The position ol Hie waist
For the cutest look place the waist about
one brcast-hclghi bctow the breasts
A mure realistic distance is about
one head below the breasts
Actual
Mnnga
BackTp(2 The bullocks
A simple standing pose cannot fully
iHusliale manga-style bullocks
See page 38
T<> «8 The distance from waist to crotch
The waist and crotch are normally about
one head apart. It this distance is too short.
the hapsJpclvis writ look too slight and
the ligure unbalanced

The Breasts
The Structure of the Breasts,
and How They Attach )
The breasts growd rcclly Irom
the armpit line.
Theie is a space between the breasts
The nipples turn outward

Mew Irom owrhoatl
Thcbrcasis and nippies lace ounward
at roughly a 90 angte lo one another
In 3/4 view one breast faces
slraighl toward.

Profile Views
} Because bicasls arc soil and pliable,
you can achieve very dilferenl ellecls
by how you dress the ligure.
t\ <°v ^ *°
ni\ ^ ^c\
\ \ /1
Bound tight w*h muslin
Enhanced
Clothing that acceniuates
siie and shape
Bra-less
/ The Rib Cage and the Breasts \
\ . i—i i '
The breasts are made ol
laity tissue resting atop
(he grcalci pectoral
muscles ol the chest.
The muscular structure
2fc ofihearmpn
<V<s

Differentiating the Size of the Breasts
y-
This line is crucial lor establishing
the curvature ol the breast, as well as
a sense ol solidity ant] weight, so it must
be drawn with special care.
The larger the breasi
the more it sags under
■is own weight
Somewnat large
Very large
Adiust the size ol the breasts
in Iromal view by raising or
lowering the underside ol
the breast.
The larger the breast, the more heavily the line
under the breast should be drawn

( Breasts of Different Shapes )
In general, breasts tail into
three basic shapes, but countless
variations arc possible among them
<^ The Posision of the Breasts )
] The impression created vanes
greatly by how the breasts
are positioned
Breasts that arc predominant among Westerners
28
Breasts that are predominant among Asians

(Creating a Sense of Solidity^
—I \—'
Apply shad ng with scrccntoncs to
cicatc a feci ng ol solidity
Wncr\ the figure is dessert
>. you can cicatc a more provocalwc
"— yjp5) spnse ol dimension with
/ / solid black fill and pen touch-ups
Scraping away some ol
trie screenlones enhances
the appearance ol skin
The Breas from
""•^ Diagonally Behind
Typically. Irts p
the breast e visible
(though sae e a lector).
GooeraDy. the mppte is not visible"
in a 3M rear view, but 11 depends on '
thctypcoftxeast.
With sciccmoncs added
29

Since the areola is in ellecl a circle drawn
on a sphere, it must be drawn with care
in order to maintain proper perspective.
When ihe areola Mill be toward the side,
draw a circle on a ball first to see exactly
what shape it needs to be on paper.
{ Some Examples
I
Pen woik only
Pen work combined with screentones
handled with relative simphcfly
Screentones only, without any pen work
30
Combining pen woik and layered screentones
gives the drawing more dimension and makes
the nipple and areola appear more real

( Showing Movement of the Breasts
The nipples arc generally ai tttc same height
on both sides, so they provide iisel ul
refcence points when blocking, out
your drawing or determining Hie position
ol trie breasts
Movemenl is shown by changing the shape
the breasts and the position ot the nipples

< Bending Forward >
Remember that the nipples
and arcolas lace upward
Theluiief the breasts, the more
they droop I torn the pull ol gravity

/ From On All Fours to Lying Face Down \
The breasts press aga>nst the tioor
and are Itatlened by the weight ofl Ihe body
The shape oi the breasts is aitccied
by how much weight is being placed
cxi them (or not).
It the breasts arc large, they take
the shape o« a llatlened ban
33

(
How Moving the Shoulders and Arms
Affects the Shape of the Breasts
WHh arms raised, the chest thrusts
lorward
V*en the arms are raised,
the muscles m the chest arc also
pulled upwards, and the breasts
change shape.
Subtle differences between when
the arms arc down and when they are
raised can be seen clearly in side view
drawing Slender Arms
VAten a ligure rs given
broad shoulders, the
arms also tend
to grow thicker
Todrawslender arms, tighten up
Ihc shoulder muscles and reduce
the height between shoulder and armpit
Wien drawing a ligure with A slender upper'torso
raised arms, keep the upper that gives a more
torso relatively thin. muscular impression
./
34

(The Shape of the Breasts When Lying Face Up)
W>en a woman lies (ace up. tier breasts
nalurally flatten under their own weight
You can show this eflect by how you
position Ihe nipples.
The nipples still point outward,
even when lying lace up.
The ime under the breasis gives
shape lo breasis seen Irom below
Smai breasis do not iiatten as much.
but you should still draw Ihc nipples The llattened effect is shown The larger the breasts.
a Kite lo the outside. by drawing the nipples tarther apart, the more unattractively they
Iiatten out when lying m this position
Thickness
Ol Upper Torso
Large breasts
Petite breasts
Small but shapely breasts
35

Effects You Can Achieve With the Breasts
(The Differences In Line)
Doth the angle and the pose emphasize
_ the breasts. Special attention to
■ the curves bungs out the soilness
and fullness ol the breasts
^Covering or Holding a Breast)
A small breast covered
wlhahand
A larger breast
A small breast held tirmly
36
Flesh pressing between
the lingers shows the fullness
of the breast
The heavier lines
of a feN-tipped pen
f*ppte peeking slightly
through the lingers
Shift the position of the nipple
10 snow softness or lorcelul
manipulation of the breast.

Squeezing the Breasts Together;
The fullness ol Ihe breasts can be
accentuated by drawing them
close together.
- Create ample cleavage by squeez ng
the breasts together with arms across
the chest
■ desired, the nipples
may be shown peeking
faxn beneath the arms
i II the breasts are squeezed
j wry tightly, ihe nipples need not
j be shown even vriih an extremely
| low-cut neckline like this
Focusing only on the cleavage
can produce lopsided results
v*en drawing a bust with
cleavage, be sure to keep
Illustration mmnd the position ol the
Thecnect of using
a push-up bra to
delfcerately accentuate
breasts cleavage
37

Bust Line Fashion NO<\ Statements
(1. Show the Natural Shape
Dress
2. Exaggerate and Highlight for Effects
M<XJy Blouse

Styles of Neckline/

The Buttocks
The key to attractive buttocks is in how
you draw the Crevice. Think ol it as
an extension ol the spine.
Viewed trom noad on.
the crevice ol the buttocks
is virtually a straight line
There is an opening betweei
the thighs at the crotch.
Different Types of Buttocks)
Firm, smooth, well-modulated curves
make the best looking buttocks.
Uneven curves create
less appealing results
\
Not sagging, but somewhat
flat buttocks
Slightly sagging bullocks
F«m well-rounded bullocks

Different Views of the Buttocks
Realistic buttocks^
Buttocks and Hearts
Naked buttocks arc
remarkably simple.
Man a buttocks
,"Covered" buttocks)
^
Buttocks are often said to
resemble an upside down heart.
eslnthisHustration.
Cb
Buttocks actually look like this
only when the Ikjuro s seated
or viewed Irom above.
Leather pants
T-thontjs
Ordinary panties

The Contour of the Buttocks
how to Draw the Buttocks
The secret to drawing an attractive
bullocks is in thinking ol the crevice
as an extension ot the spine.
2. Draw the tegs. The buttocks
oo not really lake shape yet
3. Extend Ihe line ot the spine
along the curve ol the buttocks
f~
Why Getting the Crevice Right is So Wal
Knowing how to draw Ihe crevice
Is Important when drawing Ihe
buttocks in slacks or jeans
as well.
The crevice follows along the Ine
ol ihe spine, and represents the
center ol the lower body
./
4. Finished
4i

* The Buttocks from a Low Angle) | suiting Fiamewo* tor PeMs
_ J
Centet line
The becomes
the crevice.
Oval that determines the
thickness ot ihc tegs
V^k
^
11
2 Draw the legs.
3- Remove the corners
and lilt in Hie curves
• Jhe Buttocks When Walking)
When standing wflli leys apart
)
With lite Ictl loot forward
With ihc tegs together Willi Ihe right loot toward
4i

Efffec s You Can Achieve wi e u ocks
(Different" Views)
view featuring the back
44

( Techniques of Expression)
Apply screentones 10 bnng out
the curvature and fleshiness
Use underwear lo accentuate
the sense ol reality.
Use angle and shading to draw
the reader's interest.
45

The Crotch
Using Curved Lines to Show
Dimension in the Crotch
(1. Standing on Knees)
The secret to drawing the town
abdomen and crotch lies m ho*
you capture the gentle slope ot
the abdomen m the curved lines
ol the underpants.
From view from a slighlly
elevaied angle
3/4 view
Drawing these Tines straight
will matte <l look more like
a mate crotch.
The lines in the underwear
show the contours ol the crotch

(2. Sitting on Knees)
Side view. The crotch does not
touch the tloor
The buttocks are soil, so the
heel digs in.
When the legs turn outward.
the buttocks are puled apart
and the crevice opens up
Wear ng high-cut or
string bikini-type underwear
View trom below: the thighs
and the buttocks press Hat
against the floor.
47

f5TSquatting on Toes and Knees )
3/4 front view Irom a slightly
4$ elevated angle
Theaotch ol a standing figure
looks much the same when
viewed Irom above

4. Sitting on Buttocks, Part 1
Depending on what the ligure is
weaiing and how it Ms. the crevice
d the buttocks may need to be shown
Ordinary panties
Note Ihe deference in the curves

<^ 5. Sitting on Buttocks, Part 2 )
Even lor essential y the same silting position,
the appearance ol the crotch \Mi be ddlerem
OcperKbng on whether the ligure is leaning
forward or back
II you diaw the crotch area m
too much detail, the ellect win
be obscene

^6. Falling Over Backwards^
r
Falling w«h legs pressed together
An even harder tail
(such as when tailing ott d a bed)
For greater reahsm, leave a t tile
space between the seam ol the
underwear and the crease ot
the thigh joint
You can create Ihe Impression ot
more dynamic movement by drawing
muscle lines m Ihe thighs
<
SI

The Lower Bod in Action
f rom an even lower angl
andmoreiothelront

The Relation Between
the Buttocks,Crotch, and gs
The enteral lines.
Wthoui ihese lines.
the buttocks will appear Hat.
54

On a hard lloor. there wtn be a gap
between the waist and the lloor
55

The Legs
(Drawing the Legs With an Understanding of Their Bone Structure)
n
The bones
X-ray view
II you extend the (high
ectly oil oJ the buttocks.
* win (end to be quite I at.
when you want to draw a less beefy thigh,
draw the thigh lirsl m the desired prooorton
and then adjust the buttocks as necessary
lor a natural lil.
<^A Side View of the Leg at the Hip;
The thickness ol the thigh where it attaches
to the petvis determines the shape ol the buttocks
Thick thigh
Average thigh
Thn thigh
56

(The Relation Between Pelvis and Legs")
The bones
X-ray view
Bullock
Thigh
High-cut style underwar
reveals the Hugh |omt
Even lor legs Ihat look skinny Irom the ;
Iron, the thighs wfl look lat when
viewed in dillerent poses or Irom J cy
drllerenl angles

^Different Types of Legs)
Shapely, sexy legs
Thick-set Irom
thigh to loot
Legs thai are quite shapely
m spite of thick-set thighs.
Drawing the call wth
heavy lines creates
a muscular look.
Slender but pretty legs,
with smooth curves.
Sexy thighs
Skinny shapeless legs
Excessively skinny thighs
58

A superimposed view.
The hips and bullocks are small The tups and buttocks are small
but the legs are heavy-set and the legs are slim
59

^Examples of Pretty Legs^
60

Vanous ways to Draw Knees
Focus on the Knees
Side view o( curvaceous leg

{ The Softness of the Buttocks
The buttocks and thighs are quite soil,
and they change shape according to how
weight is being placed on them as wel as
how hard or sort the underlying surface is
Sitting on the Ucot with legs
emended lorward
Pressure points where
the body weight latls
Supporting the body on hands and leet.
wflh buttocks lilted off the floor \f
Pressure points where the body
weight tails.
Sitting on a Chal: Howthe Thighs Change Shape
Vicwud irom above
62

The Neck
Connecting the Head to the Body
Looking Down From Above")
The relative positions ol head,
neck and torso are easier to see
il you draw them Irom an overhead
perspective. Draw the iigu e in stages,
adding one element at a time.
4. Finished
3. Add the head.
2 Add the neck.
1. Drawlhebody.
64

Showing the Neck and'Nape of the Neck")

The Bent Back
When You Can't Draw a Tapered waist
When a woman bends Toward win
a rounded back, creases lorm across
her stomach no matter how trim she
might be.
Reaching to pick something up
Structurally speaking one side
constricts viMe the other stretches
Tl is side constricts and the
body bends forward.
^Bending Over in Other Ways\
When knocked lorcetully oil one's lecl
06

Depending on the posture and the angle,
the stomach creases may or may not show
To avoid the appearance ol a tat belly,
keep the creases to a minimum in your drawing

The Effect of Underwear and Bathing
Suits on the Female Figure
You can show the soilness ol the llesh In how it
yields to the pressure ol various items ol clothing.
tn the case ol underwear or bathing suits. It may be
either the elastic along the edges or the labric rtseU
that presses into the skin
(
6fi
Some kinds Ol labric provide a glove-like tit
that mattes virtually no impression on the skr

^ Other Examples^
Some body suits alter the
person's entire ligure.
Natural ligure
Wrth body suit
Long tights pressing
into thighs
A bathing suit that's
one size too small
69

Water Droplets and Beads of Sweat
Always keep tne contours of the
body in mind when drawing droplets
ol water or sweat
^1. Water flows along body contoursT)
Oont simply draw little round circles.
Always remember that the Deads ol
water or sweat be on a curved surface.
O
It you simply draw little round circles,
they wa look like drops ol water resting
on a shed ol glass in iron! ol the figure
The llow ol water or sweat
should lollow the body's curves
(2.. Water obeys the rules of gravityT)
, A ^\ \
Beads ol water and sweat arc drawn 1 \\ J I
downward by the pull 01 flravity. / \J 0

/ 3. Water is affected by \
the direction of motion. /
Beads ol water and sweat aie atteded
by the now ot air or the speed ol an action
as they flow along the contours ol the body
The basic technique is essentially the same
wnelher the ligurc is to be shown w*h a tew
beads 01 sweat, sweating profusely.
or drenched w*h water.
Heavy sweat itying in
every direction
71

Wire Frames
Getting a Grasp ot the Body's Curves
72

{ From Low Angle")

Using Wire Frames
Undergarments and clothing ol
al k nds generally conlocm to (he
contours ol the body Wire Irames
are especially helpful when
drawing the ovoid curves al the
neckline, the cull of a sleeve,
or tno nemo! a skirl
The basic shape ol
a T-shirt and skirt
Clothing is in essence
a tiguie's second skin.
(l. Drawing clothing"^
When drawing a V-neck
use ihe vertical lines lor rclcience.
2. Drawing a figure In water ^
3. Drawing logos^)
Refer to the wire Irame when
drawing logos and other designs
on the clolhing
The surface ol the water should loaow
the curves ol the body
74

^4. Drawing underpants^
(5. Drawing skirts)
Relet to the wue Iramc to tigure out
the curve cA the skirt as seen Irom below.
Choosing a lower Ine g ves a more ordinary cut

Q&A
What if you want to draw a female figure
without drawing attention to the bust or hi • s?
Answer O
s/
1 Diawa long, slender neck.
2. Even il you don't draw breasts or
hips, do taper the wast to give the
(igure a cerlam amount ot conlour
3. Give the llgurc narrow shoulders.
4. Make the head relatively small,
and draw a body about 7 to 9 heads high
Answer
Orawthe ligure as slim and delicate,
in this case, the shoulders can sun
be somewhat broad.
Answer
Draw a clear collarbone
Answer \4y
76
A boyish girl)
When drawing children, there is
almost no dfflerence between
male and lemale iigures
1. Use racial features. ha» style.
or clothing lashions to disungursh
grown women and little girts.
2. Drawstraight. skinny legs.

Chapter 3
Drawing the Female Figure:
Using Detail for Effect
\
/
<_
l^D)

Different Types of Nails
Uncanny lingemails Trimmed 1 ingernails Eftptical lingeinails Rounded lingemails
A)
("Examples of Hands and Nails)
78

^Showing Manicured Nails)
Spoiled black
Spotted block with white
tor rejected light
Using screentores to represent ditlerent colors
Customu ty. red and eieeo nails
are spotted black or icprcsofltod w."h
a graduated pcieonlonc. ligni ptoik and
yelow nails are represented with
a light screentone mine (10 to '19 range.
While Woe nous a o represented with
a «42 or «S2 screentone.
Lighl pink
Blue
Rod
Toenails^
Neatly clipped
Front view
View Irom above

Eyes, Eyelids, and Eyelashes
^The Structure ot the Eye )
Pupil
Exposed portion oi the eye
{ How Eyelashes Grow
UppMoyohd
Lower eyelid
Pud I
*R
f" \
(A Selection ot Eyelids with Folds)
Contoured
Simple
TK
80
Heavy
Realistic

Slanted eyes are slanted even
when viewed Irorn the side
^Different Types of Eyelashes )
1
Slanted eyes with thin eyelashes
t^
M>
Or nary eyes with ordinary eyelashes
l
-te
Ordinary eyes with ihick eyelashes
^
Heavily made-up eyes with lour-way latse eyeiasnes
Eyelashes from Different Angles
1&
^
i?^
^
-*$
/
\
T&s-
81

( Different Types of Eyes )
neakslic Eyes
VMeEyes
Open
^r^s ,^>
^7> ^hr
Han-closed
-i-<J'
Closed
Closed lightly
■^^^K^^^ | ^^" ~^*fc
Srraling
^^^ <S&y
Loo* ng skJcways
Winking
82
^^-
"^
<5£
^r
Manga Eyes Tal Eyes
*Q. £v
v>*V >^
^^
^
^e
">

^Pen-Drawn Shading^

The Mouth and Lips
(The Shape of the Lips)
k
You can achieve many dfflereni
effects wflh ihc mouth according
to what aspect you choose to highlight
@©
(Special Effects)
VAten sccVing a particular ellect
with the mouth, locus attention on it
by cropping the frame to exclude the eyes.
84

Effects You Can Achieve with Black and Shading
Accenting the outline^
Solid black
plus hatching
igy
Solid black
plus screentones
>
^Z3
P
85

The Ears and Earrings
Since earrings are smell, they are
almost always drawn to obtain a
very particular effect. It's nportanl
to lh«* carelully about what view ol
the ear will otter the desired ollccl
Some Tips on Ears and Earrings
The top ol the ear is on the
same level as the eyebrows,
and the bottom ol the ear is
level with the base ol the nose
An ear w*h a pierced
earring at dilferert angles
When viewing the side
of the head, the ear rs
at the center.
86

The Hair
]
Har styles are determined primarily
by two characteristics: how still
the hair is. and how much of I there
» (
The Difference Between
Coarse Hair and Fine Hair
V
^ r
II the hair ts line and solt.
«tends to he flat against
the scalp
\t/"
II Ihe hair is coarse and still.
it lends to grow outward from
• the scalp
Fine ha> Coarse
Typical hair styles
ha*
Hair Density )
Fine and thin
Fine and dense
Coarse and lull headed' dense
87

Coloring the Hair
Outline only
Solid black Graduated screenlones. sciaped
Pen work only
Black with wtnte highlights Layered screenlones
/' HttW/
■V
»'
Pon work and screenlones Black w*h while highiighis Black with scraped screcniones
88

.Tips for Drawing Hair")
Shaved hairlines
use Iranstef screens
or sceenlones

A Catalogue of Undergarments
(1. Underpants
T-ihongs
Higli-cirt
Ordinary
90

Miscellaneous

C 2. Bras~)

Sporty
Miscellaneous

C 3. Other Items")
Bodysuit
Variation
94

Underpanis: The Different Look of Different Fabrics
Wicn not being worn
Light weight puckering fabric Standard weight cotton-symnelic mi*
Silt
■ Hugs body curves faithfully.
- Wrinkles appear as veiy detcate lines.
Standard weight cotton-synthetic mix
■ Orawonty the outline and seams of the panties
- A plain look, wtti the teeHng that the panties hug
the contours of the body.
Light weight puckering tabric
- Drawwrinkles along the top and bottom hems.
• A 1ewwnnktes1c*jw the contours at the crotch
and hips.
4
95

y"
Q&A
What are the secrets to
drawing faces in profile?
"\
C^AnswetV
Based slnclty on bone structure.
it b strange for the eyes to be set
too lar back Iromthe nose, but in
drawings, such a style may still
be perfectly acceptable There
arc many dfflcrcnt ways in which
Ihe eyes. nose, and moulh can be
distorted or exaggerated to good
eitect. so you can develop your
own style without being loo worried protile. but ihe eye gazes
about actual bone structure straight out at the viewer
In Egyptian drawmy style
the lace is presented
Outhnc ol the head
even the mouth
protrudes quite a bit
Cone structure,
the lace is nearly Hat

The Female Figure Goes to School
\1. Getting Dressed: The Blouse)
Wrinkles «Ihe blouse should
be drawn wth sharp,
dynamic lines.
The bu&l wlh dfflerent btouses
Fastening the bra
97

(2. Getting Dressed: Shoes and Socks")
When ihe (igure is seated,
the surface ot the bed or
cushion conforms 1o the
shape ot the buttocks.
How Ihe nvisibte part ot Iho
buttocks presses into the
mattress or cushion.
Some loose socks
Sipping into her shoe in
a sealed position
98

^3. Getting Dressed: In Front of the Mirror'
Even when Ihe character is
simply standing or srtling straight,
avoid making the figure completely rigid

{^Running Down the Hallway^
A sudden stop:
momentum makes her skirt lly up.
100

5. Sitting on a Chair
101

(, 6. Jumping up In Joy: In School Uniform

7. in the Locker Room)
Bunched up gym clothes should be
drawn with soft, genlle lines lo rellect
the softness ot the labnc
Bra straps aie usually madool
sturdy material
Use sharp but relatively lew lines lo
draw wrinkles ■> the gym trunks
Loose socks should appear solt
how you draw the wrinkles depends
on Ihe kind ol labnc.
103

{a Dressed for Gym Class
With icrsey hanging loose
With jorsey lucked-*
104

9. More Tips for Drawing Gym Clothes
The jersey 13 smooth, but also has
a certain weight. A senes ol wrinkles
cascading Irom the breast tine
shows I he thrust ol the bust
The lower abdomen'
You can use black and
graduated screentones to
achieve a sense ol dimension
Wrinkles on the back typically
appear around Ihe shoulder
blades and the waist
Black, with the lines ol the
buttocks shown in while.
The way Ihe buttocks appear
to bulge out beneath the seams
creates a reakstic ellect
It is besl not to draw
loo many wrinkles
m the crotch
Using transfer screens to show
rellected Ught can give Ihe
buttocks ol the trunks
a reeling ol volume. 105

^10. Regulation Bathing Suits)
Drawmg all the seams makes
the bathing suit look more
realistic Seams are normally
lound on the shoulder straps
along the skies, and across
the crotch
Tight wrinkles penned in along
the side seams bnng out the
curvalurc ot the body
106
Use Mack and screen tones to creale the
mpression ol a wet balhing suit retlecting light

11. Riding a Bicycle")
The skirt curves according lo
the posilen and roundness
ol the thighs.
107

12. On the Way Home: Walking Outdoors)
Distinctions should be made
between summer and winter
uniforms. The sumrnef labnc is
light and shews more wrinkles.
white the winter blouse should
be drawn wrlhout many wrinkles
Winter unitorm
the wind Mts the garments as a whole
instead ol merely wrmWing them n spots
Summer unitorm'
the wind creates localized wrinkles
108
Wnen showing a strong gust, summer and
winter unKoims should both be drawn
(lapping in the wind
Whenaskut gets blown up n the wind,
the arc ol the hem shows the weight ol
the fabric.

Chapter 4
Learn from the Pros

(
Girl in Middy Uniform
)
Narrow Shoulders lor a Youthful Effect
♦ Narrow shoulders and a trim figure offer the unage of a cute young
teenager. Since narrow shoulders make the head look larger.
A typically leads to a childish look But give her some curves and
long, shapely legs, and she becomes a vivacious teenager
♦ A waist narrower than her shoulders and the hnes that show her
breasts swelling against her blouse lei us see her shapely hgure
even through her clothes. Also. Ihe lines of her thighs suggest
the well-rounded buttocks Irom which they grow.
110

Beauty with BouqueT)
*\
Drawn by Jun Malsubara
Cu led hair ts a hallmark ol girts
comics (shojo manga). Here, a
dozen or so knes twist together
to lorm each tress, and you can
see how the delicately curving knes
and the varying widths ol while
space between thorn combine to
give the curls a remarkable leokng
ol volume.
V Rough
sketch
Preserve Your Original Conception through Attention to Detail
Start by blocking out the overall image, and Ihen work up a complete
rough sketch II you go ahead and rough in the llowers and other
accessories at this stage, you should be able to proceed with
confidence and lirwsh with a drawing that remains quite laithlui
to your original conception
When you pick up your pen to complete a rough sketch like this,
you must have a dear vision ol the linal drawing you wsh to create,
and your pen must be controlled by a very precise sense ol where
each line must go.
112

( Alluring Adult )
Drawn by Yasuo Matsumoto
Draw the lines showing the swelling
of the breasts sharp, thin, and
smoothly in order to bring out
the natural soltness and vitality
oitheiiesh
Rough sketch
Achieving a Natural Balance
When deciding on the ligure's composilion and overall proportions,
use your gude lines to maintain the proper balance. Focusing too much
on the proportions can often result in a fietess hgure. but the
drawing w* come alive Hie this so long as you develop the composition
with a clear visual image.
114

( Dream Fantasy )
Drawn by Mono Harada
lite lock ol hair sweepmg forward
Irom m Iront ol the ear subtly
suggests the lemmine shoulder line
Some may even visualize the Ine ol
a rising bust Even something as
simple as a strand or two ol hair can
trick the eye to create slarltng ell MS
drawing
Your Most Cherished Dreams are the Soul ol Manga
♦ Even in this simple line drawing, ihe artist has meticulously detailed
the lace at Ihe sleeve and around the hem Out the drawing takes on
a whole new wbrancy wflh the addition ol a black bodice and an elegant
skirt border created with screcnlones The black nbbon at the ankle
provides another elegant accent
♦ The tmished drawing seems loo real to be a dream, yet loo imaginary
1J (, to be real, and perliaps m tliat we can see Ihe very essence ol manga.

Drawn by Bancho Hoshino
From Ihe very oeginning. the artist
■•.os preparing lite way lor black hair
with white iHghlighling to show the
reflecting iKjhi Such elliciencies
are the ma k ol a true prolessional
Line drawing
IIS
A Medley of Cheerful Faces lor a Drawing Bursting with Fun
♦ II lakes lime to draw an initial skelch thai is close lo Iinished quality
bul Ihc advantage is lhat « simpl ics your linal pen work
When the pen work can move swt My. it energizes Ihe characters and
lends sponlaneousness to iheir expressions
♦ A template was used to draw ihe circle lor ihe ban. and
carelul altenlion to details such as shoe str ngs and soles, even with
simplification, helps give the drawing a Iceling of balance

**Jl

( Sexy Babe )
Exaggerate Boldly
♦ Draw the ligure with large breasts and buttocks lo create
a wdl-endowed woman (URol vim and vigor The eye-pooping
voluptuousness ol the body is counterbalanced by a cute,
slender neck and a slighlly longer than normal torso, and the
serene expression on her lace adds to an impression ot Ircshness
and mvihng soltness In poses that lealure the buttocks, it's olten
easy to get excessrvety caught up tn the shape ol the two cheeks.
120 but always keep in rmnd as you draw that the buttocks are where
the legs grow Irom.

[Humorous Illustration')
Drawi by Shoko Ando
r
Cven hnes thai look simple and
artless can show movement and
space Draw as if you have become
the object you are drawing, rather
than as a person looking at rt from
the outside
^/ Rough sketch
Simplified Features, but Drawn with Warmth
♦ The laoat teaturos nave been simptriied to an extreme, arx)
the body is distinctly styli/ed Bui by applying the same style to
each character, a certain lechng ol rhythm is born between them
The unadorned dots and hnes actuaRy reveal a remarkable amount
ol expression. When drawn with a clear image and distinct sense ot
mood, even the simplest figures can be Mied with heart.
122

For Proper Balance and Struciure. Sketch Even What Won't Show
♦ By choosing a pose that provides a leeling ol depth all by rtself.
you can create a powerful illusion of physical presence even in
a standalone lig re without any background The secret to getting
the right balance in this Ijgure les in nduding details of the loin
area in the rough sketch, even though that pari is slated to be
spotted in black
♦ The logo on the shorts provides an important accent It may seem like
a timat ihing. but drawing the logo neatly and sharply contributes to a
leeling of tartness, and ntensif les the leeling ol physical presence.
124

\

Pursue Your Own ideal ol Beauty-Without Compromise
♦ On the way to a finished drawing, you have only so much time to
decide on the composition, facial expression, accessories, and
any special motifs you wish to include In this case, the hand drawn
so prominently in the rough sketch ultimately got removed Since a
significant amount ol cflort goes into even a rough sketch, ihe natural
tendency would be to keep the hand even n the linal pen work. but
there is a valuable lesson in this example In order to achieve the
best possAlc rendering of your vision, you must sometimes be wiling
to change course, even A it means additional wo k it is the refusal
126 over to compromise your vision that will ultimately bear the finest results.

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O NonyoslN inoue and Jun Uptani/ Sasono/nogannpheLast Goddess"). Sltueisha Business Jump

9 ro* oo111*o
ISBN 4-7tbl-imb-X