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K's Art
 Collect all volumes of the exching
HOW TO DRAW series.

J]I"TI

FEMALE CHARACTERS ILLUSTRATING BATTLES

t5BN4-7661 1146_X BISHOUJO - Pretty Gals
ISBN4 7661-1 147_8 t5BN4-7661-1 148_6

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5iih.!--56'-- 14+4 BODIES & ANATOMY
t5BN4-7661 -1 1 50_8 ISBN4-766 I -1 238-5

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MAKING ANIME
ISBN4-7661 -1 239-3

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Putting Things in Perspective
Backgrounds/Crowds
HOWTO DRAW MANGA:
Putting Things in Perspective
by K's Art

Copyright O 1 997 K's Art

Copyright @ 1997 Graphic-sha Publishing Co., Ltd.

First designed and published in 1997 by Graphic-sha Publishing Co., Ltd.

This English edition was published in 2002 by
Graphic-sha Publishing Co., Ltd.
1 -1 4-1 7 Kudan-kita, Chiyoda-ku, Tokyo 1 02-0073 Japan

Production director: KatsuyaYamakami

Production manager: Hikaru Hayashi
Background aftist: Maguro
Finishing work artist: Nobuko Yuuki
English title logo design: Hideyuki Amemura
English edition layout: Shinichi lshioka
English translation management: Lingua frdnca, lnc. (an3y-skmt@asahi-net.or.ip)
Japanese edition editor: Motofumi Nakanish (Graphic-sha Publishing C0., Ltd.)
Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)

All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior written permission 0f the publisher

Distributed by Distributed Exclusively

lNC.
NIPP0N SHUPPAN HANBAI ln North America by
4-3 Kanda Surugadai, Digital Manga Distribution
Chiyoda-ku, Tokyo 1123 Dominguez St., Unit "K"
10 -871 0 Japan
1 Carson, CA 90746, U.S.A.
Tel: +81-(0)3-3233-4083 Tel: (310)- 604-9701
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Hrst printing: october 2002

S&i: 4-7661 -1 256-3

P-n-ed ard bound in China
 Backgrounds indicate where
characters are. They are drawn
to illustrate places and
situations.

A cut with only the character

A cut with the background included

. Example without background

l'm leaving
tor schooll

Vx
: :i ,: ::: :i:

Ah.1omebody
juet, aVpeared 1...1 can't etopl
trom around
lhe cornerl

t
Oelter Lake a
E
fr
ehor\cuLl

E
PITTER-PATTER

ln this scene, a girl in a hurry collides with someone at a corner. The

scene is much easier to grasp with the background.
. Example with background

/'1 D
.o
9.
 Table of Gontents

lntroduction:Why Draw Backgrounds?......,s . How to create height ditferences

- Raising and lowering the head

Chapter 1 . An easier way to draw crowds

Basics: Standing on the Earth .........1r Creating Effects by Changing the

Begin Drawing Backgrounds Gomposition of a Picture...........................s0
with a Single Horizon Line.......................12 r Drawing upward views
. Drawing manga is just like filming a movie. r Three-point perspective drawing
r Presentation: Long shots and close-ups r Ariel view of scenery Bird's-eye - view
. Vanishing point r Making a group of buildings
. Simple way to pick a vanishing point in the distance look cool

How to Draw in One-Point Perspective: r Perspective when the ground is curved

Let's Try Drawing while Let's Draw Outer Space ........65

Looki n g at a Photog raph ......... ..................23

r Drawings suited to one-point perspective

. when to use two-point perspective Chapter 3
Distance of natural obiects:
Tree-Lined Roads/
Ghapter 2 Light and Shadow/Sky
.......67

Drawing the Outdoors: Howto DrawTrees.. ....................,08

From Everyday Scenery r Drawing roadside trees
to 0uter Space...... ..................2g r Drawing atree-lined road
How to Draw a Roof.,.......... .........30 n Drawing shrubbery
How to Draw Slopes ..............,......34 . Leaves of roadside trees
How to Draw Forked Roads .........36 How to Draw Shad0ws.....................................72
Drawing Houses . Sunlight
- When the Vanishing Point is Far Away .......38 ' Light from streetlights and indoor lights
Drawing a Gymnasium .................40

How to Draw Characters and Backgrounds.....42 Etfective Use of Backgrounds

r Placing multiple characters - Slide method Basic concepts and techniques..............74
r How to draw groups of students going to

or coming home from school

8
Ghapter 4 Chapter 5
Drawing lndoor Scenes How to Draw Backgrounds
Hallways/Stairs/Small 0bjects...........7e Learning by Doing. ..............10e
How to Make a Narrow Hallway Look Wide.....80 Process of Drawing Manga Backgrounds.,....1 1 0
Classroom: How to Draw Desks.......................83 1. Drawing a residential area
r Common chair/desk composition 2. Drawing a school
and the horizon 3. Pen drawing
Distance Between Characters and Walls .........88 4. Erasing and white correction fluid
How to Draw lndoor Scenes (Living room) ......90 5. Adding tone 1 - Residential area
1. Drawing the opposite wall 6. Adding tone 2 - School
2. Drawing a rough sketch Gomparison of Characters and Objects .........122
3. Drawing a couch.
4. Drawing a table. Ghapter 6
5.DrawingaWstand. Special Etfects and Character
Drawing Small lndoor Objects .........................95 Representation Using Perspective..l 25
r Small objects on tables and desks
- 1 Drawing Special Effect Lines and
Drawing without using perspective Sound Words Using Perspective............. .............126
. Small objects on tables and desks
- 2 Creating a Greater Sense of Existence
Drawing using perspective Using Minor Techniques.. ................129
r How to draw cups: Circles on tables Drawing with Perspective Rulers ....130
r Drawing small objects Special Effects Usin g Perspective Techniques..... 1 32
Using cellular phones as an example Various wide angles. .......................135
Drawing Beds............ .................100 Examples/Changing Camera Ang|es....................1 36

Drawing D00rs.......... .................102

r Structure of doors
. Opening doors
. Examples of open doors

Drawing Stairs.......... .................105

. Looking down a flight of stairs
r Side view of stairs
. Distinguishing features of stairs
 {

10
Chapter 1 Basics

Stondirg on
the Eorrh
 When you want to draw a
picture with the main
character standing in a
wasteland, draw a dividing
line between the earth and
the sky (horizon). All
backgrounds begin with
drawing of the horizon.

/i\
The expanse of the earth differs
depending on the position of the
horizon.

4
I
/t,

Column: ln Japanese class, the dividing line between the earth and the sky is called chiheisen
(horizon) and the dividing line between oceans and the sky is called suiheisen (horizon), but both
12 are referred to as suiheisen in drawing.
 I
\.\]
l

When drawing the horizon, pretend like you are filming a

movie and think about where you will hold the camera.

ln manga, the height of the camera is the horizon.

Column:Why is the horizon on land also called suiheisen in drawing? lt is called suiheisen because
it is a horizontal (suihei) line (sen).
13
 Drawinq the horizon below (foot level) a character

--/
-
-=-::=>

Drawing the horizon at foot level

expresses the expanse of the wasteland.
This is a low-angled composition.

//Wi
Filming conditions

The character will float in the air when the

horizon is drawn below foot level.

@ Dig a hole to film from ground

D
\
@ The edqe of a cliff is the
height of the horizon

\
 Drawing the horizon above a character
Drawing the horizon above the head of a
character creates the sensation of looking down
character. The so-called bird's-eye view. This on the
is a high-angteo composition.

.".:\\.-!1,, ,rz

Viewing height

Filming from radio-controlled airplane or stepladder

-;:-:ally looking down on person (bird,s_eye view of

character)

Bird's-eye view ard the horizon

When yoti take::'ii piciiire from'*ie nonnat

15
 the horizon in a character

You draw the horizon somewhere between

the head and feet. This will create the
most ordinary view.

Filming conditions

@ Low angle

16
. This is often used in scenes
with dialogue.
. Draw the horizon at eye level
when a character is moving in
this direction or for close-ups
of the face.

. ftis is often used for full-body

strots.

" Draw the horizon at bust

reight when drawing the
artire body (down to feet).

# 4

. -lis
.^-
is often used for dramatic
:nesentation.
. lnaw the horizon below the
*rnees of a character when you
rant to make a strong
rnpression or give the picture
i sense of depth or vastness.

Here a character between a close-up of feet in the foreground and a character in

the distance create a good sense of depth.
 Presentation: Long shots and cl
Think of the
difference between
long shots and
close-ups as a
difference in camera
work (presentation).

A cut using a long outdoor shot

There isn't much
need to think about
the perspective of
small objects in
scenes using long
shots.

Long shot...zoom oul Close-up...zoom in

18
 ,-llose-ups are used
:r present hands or
.nall objects.

@
-se a long shot when
r,t-- lvdfltto illustrate
lil:-irsfhing with an
:,,:-all view. Use a
: :se-up when you want
: :nrphasize one part.

brp
rtdce-xf
rnqnifed;i',ir
rGEtss
orapstda::
rXrgdemgst
.lfiire
fii*angle

I"nnumn: Technically, wide angle is a word used in photography.

A thicker lens than usual is used to make
an impressive etfect by making a picture extremely distorted.
 Vanishing point

The vanishing point is the point

where all perspective lines
c0nverge.
A drawing technique that uses
one vanishing point is called
one-point perspective. There
are also two- and three-point
perspectives, but let's learn
about the vanishing point using
one-point perspective f irst.

Vanishing point

Photograph used for reference

Changing the position of the vanishing point changes how the sides look.

Column: When you draw a building, for instance, think about whether you want to see the building from
the right or from the left. lf you want to see the building from the right, place the vanishing point
20 in tire position shown in the right frame.
lagine you are taking a l
: cture. lf you stand directly in
*cnt of your subject, the
*anishing point is in the middle. C
" iou move to the right, the 1\
,-rrishing point moves to the
| ..t
-,::t as well.
oo
!

"-------r' 30 Side view

--s is taken from the right side of the road. You can see more of the wall on the left side.

This is taken from the left. You can see more of the right side of the road.
 'way to pick a
When you want to draw a
simple building roof or other
objects behind characters, use
one-point perspective. The
vanishing point could be in a
variety of positions, depending
on the diagonal lines of your
outline. Pick a vanishing point
by choosing an angle you like.

Subject
Completed drawing

1. Draw outline 2. Draw horizon

ll

'il
ll
'l ..{
, -

;*'
't :

:1
-"
'll ,*-\ I

:-" *l*,
\l
-(" 'r

3. Pick vanishing point

Column: 0nce you have picked a vanishing

point, draw a rough sketch. lgnore the
other perspective lines of the outline
and draw all the lines in the direction
of just the one vanishing point.

Regarding background and

perspective, once you get used to this,
you can begin drawing a rough sketch
by first picking a horizon and a
vanishing point when drawing the
outline of the image.
Extend diagonal line of outline.
The point where it meets the horizon line
becomes the vanishing point.
 :Whil0:'..l0okingr,, 01,, n
ien drawing backgrounds,
,: sts often refer to
:
-:tographs that they
have
"..en. Perspective drawing is
-, most efficient way to
: -Juce a good drawing, so
. s get comfortable with it.

Reference photograph
sketch of the background and choose a horizon and

,,,' a rough drawing

-; :hotograph while
-'
: :re depth lines
: - l ngs and the
t:

-:ortant to grasp
-- .,:'all picture.

'. - :-..oso the road

*.
,," :"awing the
,,r r--.Jfld, simplify
r"-:parts
- :r -
: 'lg 0n y0ur
, -,; tid needs (note
" - *: chotograph is
, ": ':'reference

: L-r':nr Horizon and vanishing points

- ln photographs the vanishing point is often not clear.
It is important that you choose a clear horizon and vanishing point for your drawing.
23
'lh
 ffi Completed rough sketch

ffi Ren drawing

Draw thin lines.

Start with the foreground.

Make foreground lines bold and lines in the distance thin.
Leave windows and other details for last.
Contour lines

Drawing thin non-contour

lines creates a three-
24 dimensional etfect.
 ffi Completion of pen drawing, erasing and applying white-out

Erase completely after finishing the pen drawing.

Correct protruding lines and other anomalies after erasing.

I .' -se solid colors if you wantto create an overallwhite drawing

, '* . c'ht feeling.
- - :',,,,,in9 is complete. Lighfly apply tone to shaded areas.
- , .:cut where the light (sun)and shadows are when applying tone.
,r' ; ! .,,, tone is applied under the eaves and to the sides of buildings.

25
 One-point perspective is short for "one-point
Drawings suited to one-point perspective perspective drawing." This technique is suited
to drawing indoor scenes and creating a sense
of depth.

Road (main road and side roads, etc.)

Road with wall and buildings with windows, etc.

 Vanishing point

ln a one-point drawing, you can only see the

front of an object when the vanishing point
comes from within the object,

27
 When to use two-point perspective
Two-point perspective drawing is
a technique suited to creating a
three-dimensional effect or a
demanding presence. Use two-
point perspective drawing when
there are many building standing
side by side or when you can see
two sides of buildings.

0ffice buildings drawn with one-point perspective

Office buildings drawn with two-point perspective

Use a long shot when you want to illustrate something with an

overall view. Use a close-up when you want to emphasize one pafi.

vanishing point

28
 2
Chopter
DrqwingtheOffint
Frcm hrerydoyScenety ilo
Outer Spqce
Think of a roof as
being on top of a -71\
box.Anybody can R
ciraw a roof as

li:iff',i:t<nowQffil
how the eaves

ffi
overhang.

The "center" of the wall

--.

ln the case of a square, the point where the two

diagonal lines diagonal lines intersect is the center.

Roof height

Draw a vertical line from the

center of the wall. lt can be
whatever length you prefer (the
longer it is, the steeper the angle
of the roof will be).

Slanted line
,r

Corner of wall

. Connect the slanted lines with the wall

GOrnerc.
 The line drawn straight to the
side of the apex of the roof
ink this corner and the makes the roof look more
ranishing point and then realistic.
:rtend the line.
Supplementary line

liwnsring point

line 6 parallelto
the slanted line on this
side of the roof.

'
',I
Draw line @ from the
point of intersection of
lines @ and @.

Draw line @ right along

the center.

,6@
Line @ can be drawn only after the supplementary line @ has been drawn.
 Thickness lines are at

right angles to the

slanted lines.
Judge the length witf
your eyes.

Ditferent types of roofs

1=

Draw shadows under the eaves.

/0u can draw these kinds of roofs with
this technique.

* urr-.ll in the samurai house style.

Create a vanishing point
for slopes in addition to .i..*:- Slope vanishing Point
Drawn inconectly
the normal vanishing
point on the horizon line.
Buildings are drawn
based on the normal
vanishing point, while
slopes are based on the
slope vanishing point. t ar,
,<
(B
'l
{

When you draw two vanishing

points veftical to each other,
make sure they are on a
straight veftical line.

Slope vanishing point

.&/

Draw buildings in one-point,

perspective using the
normal vanishing point.

Points where vertical

building lines and the road
(slope) intersect. The
extended lines that link
these points and the
vanishing point become tht
lines for the floors
(foundations) of buildings.

Guardrails are located

on the edges of roads,
so their lines converge
on the slope vanishing
point.
 Uphill slope
Floor line of
the building
vanishing point ----.-
Houses are not built slanted

Fiil

Road line
is impoftant to draw a foundation so
ic'a,rhill slope that the house will stand straight up.
:rshing point For downhill slopes, place the downhill Express a slope by the difference
slope vanishing point below the horizon. between the road line and the floor
line of the building.

)eate a vanishing point for slopes in addition to the normal

renishing point.

lrnurm: Characters on slopes -Draw characters above the horizon as if you were looking up at
them and characters below the horizon as if you were looking down on them. 35
Think of a forked road as an Vanishing point A of a
To vanishing point A
intersection of two roads with straight road
differing vanishing points. Vanishing points B and A
C of branching roads To vanishing
Aerial photograph
Point B

Roads B and C intersect at a right angle

 O Choose road vanishing points

@ Draw roads from each vanishing point

# BA

B hamnlinuation

The closer the road is to the horizon, the narrower it will look, so
be careful not to make roads B and C too wide.

Buildings stand along the road, so

the road vanishing point serves as
the perspective.

Vanishing point
What do you do when the vanishing
point of the building you want to
draw is located off the paper? There
are three things you can do.
'1
Add paper
.
H
2. Use a copier 4.'
3. Draw guidelines D--
@
Attach temporarily
with masking tape,
etc.

O Draw a rough sketch in a size that is easy @ Make an enlarged copy

to draw

Use a copier to enlarge the rough sketch to

the desired size.

@ Trace

Put tracing paper or transparent PPC (copy) paper over the

enlarged rough sketch and draw with pen.

JO
 3nce you have decided on the outer border of
ltebuilding, partition the vertical lines.

@ Link each partition point

@ Start drawing using the lines as a guide

gw

loilumn' One trick is to draw the partition lines using yellow

or blue colored pencits (yellow and
blue wiil not show up when printed). rt is usua[y l

on one side
or the other that the i
I

vanishing point becomes so far away that you

3ei
I

cannot reach it with a ruler. 1

I
When drawing a
building, capture
the distinctive
features of the
building.

Draw wide
buildings like a
gymnasium
using two-point
perspective.

Distinctive features of gymnasiums

Exterior: Many are wide and have a round roof.
lnterior: Spacious. Try to present them in a way that
makes them look spacious.

@ Find the apex of the arc

O Give the gymnasium shape @ Draw the roof using an oval template

When giving the gymnasium shape, enclose

the roof portion in a box.

How to align the oval template:

The type of oval you choose depends 0n your
preferences and the image you have of the roof.
,Mne fie floor and wails big to express the spaciousness
and height of tne nullng.

When you draw a scene close to a wall, create

the
atmosphere of a gymnasium by including windows
near the floor, protective bars on windows and
other
distinctive objects.

You can present a wide-open space by putting

the
floor lines higher and drawing windows smafler.

41
When drawing backgrounds, the
size of characters is very impoftant. i
,,1

Here you will learn how to draw a a

background from the perspective of
V
characters.
^/H
&
I

Sense of distance of
v
characters standing in I

a straiqht line o.
Let's try figuring out the vanishing MI
\)v
point and horizon from the wall
drawn behind these characters
standing in a straight line. The three characters are Pretty
much in a straight line when seer
from above.

The horizon is the

same height as the
face of Girl A. These
three characters are
-* standing in a straight
line, so even if there is
a height difference
between the
characters, the
relationship of the
other two characters is
like that shown in the When viewed from the side, GirlA is the only one that
side view. fits in with the background.

t
Vanishing poi

1. Link the feet of GirlA with the vanishing

point.
2. Since the three characters are standing ir
straight line, move the other two character
to the same line as GirlA.

42
 Vanishing point

/
characters on the same perspective line -\- Perspective line
ff: in a straight line.

43
 lacing multiple characters - Slide method

1. Draw the original character.

2. Choose an appropriate vanishing
point, link it to the character and
Note:All the characters are the same height
draw characters in front of and
behind the original character.

You can choose any number

of vanishing points for
placing characters.
Choose a vanishing point near the
original character.

0riginahharacter
Y
I

-- -L - - - *- - - -- - -
,,t
- - -1- - - - - -

New vanishing point New vanishing point

Randomly choose
vanishing points

Column: Place multiple characters by slidint'one character. You can think of it as placement by
lL reproduction/movement.
f oraw one character
Drawing groups of characters can be quite difficult. lf you
don't draw them carefully, characters can look like they
are floating or sinking or they will not fit in with the
background.

Process:

1. Draw a character around which the other characters will

be based.
2. Choose a horizon and vanishing point and draw a rough
sketch of the background.
3. Based on the first character you drew, begin placing all
the other characters from the vanishing point (this is
called the slide method).

4. Lastly, draw the background.

fte other characters will be drawn based

rn the first character.

Column: lt does not matter if the background changes a little

later on. When drawing the first character, it is
important to choose the horizon and vanishing
point, which are the core of the picture.
 Draw a short horizontal line where you want to
put the character.

t_*w
View from above

Supplementary line to lind the"

When you want to draw a character

behind the first character

Column: Standing directly in front of or directly behind is the same as

standing in a straight line. This is called "characters on the
same line."
 T-c domly place characters View from above

tu -:'r you want to place 0riginal character

.:"-acters like this and not
- . sfaight line, there are @
i,r : #0!S to do it.

C
Where you want to
new
Vanishing poinl :

J=-
Lll
Camera

r, ::'zcter on this line will be

m '': with the original ---{\
lilTmiil?:?r in relation to the road. ',

O Sliding backward and fonruard-Draw @ Parallel translation and sliding backward

placement vanishing point
and fonruard-0n the basis of dummy

Draw a placement vanishing point a */"ry

7
little to the left of the originat
vanishing point.
i{Y
(l_---T_---
/&
_--_FI]l-i:_
i' \ l:4.
'\i( l-/
i

)t)
lt

II -- - j* I

I}
Slide the original character into a
Sliding from the new vanishing point
parallel position (height is the same).

.'\t
II f ptacement
:

vanishing
-
I Point -r--
Put a placement vanishing point
near the dummy.

47
i1;,l}ttK-

Column: For scenes of students going to school, place blocks of two or three students walking side by side anc
place a single student behind, in front of or beside them.

48
 ,-4

'': rn;yl'il,H:iliT:iy,:f";t'rs
-
in tne toiesr;nd,;;; i;;; l;A;;;;;;i;i;i;;t|1;

49
 A human head is about 30 cm
How to create height ditferenceS - Raising and towering the head
(11.81 in.). Use a height of 160 cn
All the characters will be (5.25 ft.).

the same height if you just

1 +20 cm
slide backward and
fonruard and use parallel
| (+7.87 in.)

sliding. When you want to

-30 cm
express height differences,
(-11. Bl in.) +15 cm
do so by raising and (+5.91 i"
*
lowering the head, leaving
the feet as they are.

0ne.hef,d shorter 2i3 head longer

Height about 130 cm Height about 18,

\ll characters are the same height,

t,.6o
r* lg*m ,'/

180 cm = 5,90 ft.

160 cm = 5.25 ft.
150 cm = 4.92 ft.
130 cm = 4.27 ft.

Not good Good

,J rT1
"--"***^ \/I *
r-***-r"-
Y rTvl
z1 |
i ,.-.*
"48' I

1i:r
'ii.
:fii
.a -.; - *.*-l*-.1 .-i-
.L

Raising and lowering the feet make a

character float or sink.
Column: Give each person in a crowd a different direction and
different clothes to make a picture come alive.
50
 An easier to draw crowds
- '.,,v various sized heads on the horizon
-:. Then draw
the bodies using the heads Draw various sized heads
:: a measure of each person,s height.

Cut with rough image of background

r. Horizon

ffi,.orno.
 Measure the length of
the head and multi
to get the total length
of the character.
Multiply by five if the
headto-body ratio is
1:5 and multiply by six
if the head-to-body
ratio is 1:6.

Length of head
Reference: ln the case of a headto-body ratio of 1:ti
Note:Always multiply the head length by the same
number for all characters.

All are multiplied by different number. ln this drawing, heights were determined using the
same head-to-body ratio before individual differences
in head-to-body ratio were added.

After the All are multiplied by five. Good

total length
has been
determined,
balance the
characters
to taste.

Characters drawn with a head-to-body Head-to-body ratio of 1:5

Headto-body ratio of 1:6

 3,ack for bust shots of characters
-=^ drawing backgrounds for bust shots of characters, draw the
,-:': body of the character even if it won't all appear in the
.
--'e.
--; ^eight of the building door and guardrail should be drawn in

Rough image

I i,.,
Drawing building on right
inino heioht of door

Perspective line \
Edge of sidewalk representing
(road side) the edge of the building

-----t I Slide character horizontally (draw

----'-l dummy)
I

Perspective line @
2m
indicating height
of door (2 m)
\' ' 1.8 m

*-*.t
;, " rrrcnize the door=2m(6,56ft,)

illlill,."= :f the
(adult male) = 1,8 m (5.90 ft.)
The height 0, the door is about one head higher than the characler
,":3ter
ll I lilll ,:
( j'ound and Column: Synchronize the scale of the character and the background. When drawing the
tf. 1 :fiaracter background, clearly show how high background parts are above the ground. When you

--lllllti
-: a dummy. try to do it by eye, you end up with doors that are too big or houses that are to small
in relation to the character.
 ng guardrail 1
nining height of guardrail I\ t,a
lt
,'
|
:
1

I.ll l\
i ' t,
. J:
tl,t\
i1 \
',;*'; {\ i l: \
\
-'t
o Slide the character to the edge of the
l
j

The height of the guardrail is a little above @ Draw a supplementary line horizontally @ You get the right guardrail heig'
the thighs at a little above thigh height. in relation to the size of the
character.
ng guardrail 2
rail poles at even intervals

@ Draw a supplementary line. @ Determine the position of

pole
,f
\,Third

\ ,ono* or
second pole
'll2 supplementary
/The interval between Divide at 1i2 the height
guardrail poles is uniform. Supplementary line in
You are free to choose any direction of vanishing point. @ Determine positions
interval. of remaining poles.

54
J JJJ

==2,
 Do not use perspective drawing
indiscrim inately when drawing
long shots of buildings and
upward and downward views,
etc. Simple ideas can create
large effects.

Drawing upward views

ical two-point perspective

When drawing an upward view,

assume the location from the
placement of buildings in a
rough sketch. The technique
you will use is veftical two-
point perspective.

Cut based on proposal 2

building

Character
ffi
tb I

1,,fr,,1
Location proposal 2

G
D E F
Characl er Street

B
A c
"*,1
56
_il
k'edtbpotut Generally, in one_point
3$ i
illt@s ranishing point:
tw_o-point perspective
perspective
drawings the
and

illtlwvanishing in vanishing point is

norizon and objects
always placed on
the

ji ,'
i

r@As was
perpe nd icu rai
two-point perspective,
iil; iffi:T i:TJ".J
ffi&m vani tne vanisfrrng
;inh
are. placed near
the top and Ootto*iiinu"
picture

\
tr..'\
--xr
. "r"'\
.,...."\ I
\. \\ !\ ''...\"
\\\
\\X
\\/

two-point

/'.,, I .'r1..'{l,,.#rr, \ ,-,

I lt 1 , /\
il
!11 ,l li-''*':'l b
it i
,,

/ '* '--i
I -

g';g--- -ffi1 I
":-:.-:;:i{S{,::--
Fil)=Q';:".+f

r-:n picture ispracedon

itssiol"""'"
,y1;33,:il,i:{i.li;ffi;;;H::[#:?l,lHJ:,#T::,
ano'oown-ai;;,Xffi,ffise ]/'u are stopping ano
lookins up $
fu
 Three-point perspective drawing
-,',0-point perspective
is a technique for creating a cubic effect by giving a sense of
- stance to the left and right of a picture.
- three-point perspective, a third vanishing point is added to give a sense of
: stance to height. Unlike one-point and two-point perspectives, the usual vedical
,-i parallel lines are not present.ln addition, the horizon line and vertical lines
-
::rsect perpendicularly.

,fu
wj

Two-point perspective

Three-point perspective
allows you to draw
powedul pictures.
Aerial view of scenery
Bird's-eye view

When drawing a bird's-eye

view and the horizon is not
visible, there is no perspective
(vanishing point). Draw
buildings parallel lengthwise
and crosswise.

Do not think too much

about perspective in
bird's-eye view pictures.

Skyscrapers

For placement o{ buildings,

try.drawing-a map

r:,:::::

terill0i!0llpqf$:$rtelpsiilaralr*Iei,g&d$-6_:i,]
ti.;lrt: :!,:,::::r:i::,::r,;ii::rr:::,,,. -r'.1-.rr...-..,
:i:lgri{r.c$rt*ixll,ber::]r:,:l:::i:':iii::ii:
:nOii'iielg$iiSgi:

!.ri&i?,0ii1&:::i:i::il
column: when drawing a bird's-eye
view of scenery using one-point perspective,
in accordance with the objective freely place the vanishing point
of the piciure or the composition.
61
 Making a qroup of buildinqs in the distance look cool
When drawing a group of buildings in the distance, reduce the
of the buildi

Reducing the depth of buildings is effective when the main subject is in the foreground and the buildings are
used for pure scenery in the background.

Reference:Town in the distance

This
ofa

an obiec't is the less thieK

When drawing a line of buildings using one-point perspective,
making the width (depth) of buildings narrower eliminates the
cramped feeling.

6ct*
Draw objects far away with thin lines. For lines that
run into characters, draw them thin as if they fade
away and do not make contact with the character.

There is a big difference even then the frames are the same
size and the vanishing points are in the same position.

Buildings drawn with reduced width Buildings drawn with normal width

Column: When you want to avoid drawing a confusing group of buildings in a long, narrow frame, draw buildings
as if they were in the distance using narrow depth lines.
 when the is curved

Distorted ground
used for dramatic
presentation can
be used in a
picture where you
are looking up
from a low place.
Place the
vanishing point in
the middle directly
above the picture.

Groupff:huildinge ; Wfien,dnwin usins, vertieal'hrrro.pint perspective

View from above

The amount of distortion of the

curved surface depends on
ndividual sensitivity. Draw freely.
ln fie case of a group of buildings,
rse vertical two-point perspective.
 ,'lhen depicting outer space
in manga, compose pictures
r a way that creates a sense of distance.

" Paft of a large planet

in the
foreground

- Many small stars in the

distance

: ln the middle, place planets

ihat are just big enough for
,,ou to can discern their
:atterns.

splatter white conection fruid for

the dots representing very sma,
stars.

How to splatter correction

fluid Dots will be large if you do
it away from the paper.

Dots will be
a7o small if you do
a it close to the
a
/ paper.
Put oil-based correction fluid 0
on tip of pen @ Ftick with brush
column: correction fruid wi,
spratter in the generar vicinity,
so put tape around
the manuscript and frame to
mask;;;.'
65
Making planets realistic

Use a template for

planet circles.

otE r

03E
(-)o3
,--, (J 3
!!-r-
-, /--\ 3:
( )-: Give planets a touch of color and apply tone to make them round
Representation of
outer space
ooi and to make them look heavy.

Present the depth and

mysteriousness of outer
space using special tone
patterns and applying layers
of tone.
 Chqpter 3
Disiqnce of Notu rul
Oblects
Tree-lined Roqd slljght ond Shodow/Sly
 Drawinq roadside trees
To draw roadside trees
planted at even
intervals, choose the
positions of the first and
second trees and use
the technique to an even Side view
interval. Think of tree
trunks as poles,
O Draw one tree @ Draw supplementary €) Choose interval
lir, line. between trees.

ta....

Draw vanishing
point and
Mark the spot
Place on sidewalk slightly supplementary where you want to
away from road line. lines connecting it plant the next
with tip of the tree tree.
@ Draw "pole" for and the base.
second tree.

@ Turn into trees.

.i
Second tree ,;'
,',
a

@ Determine where to plant the

rest of the trees.

.I
Fourth tree
I

Draw trees by fleshing out

the poles.

Column:When drawing roadside trees and tree-lined roads, first clearly sketch the road
and sidewalk. (Needless to say, you need a vanishing point and horizon.)
lraw a line of trees on
,re side of the tree- @ Draw a perspective line
where the trees will
j
red road and slide it to
be placed.
I
::e opposite side.
- Draw a line of
trees on one side
Perspective line where
of the road.
trees will be placed 7
tl
1' ---'-' Perspective line for road

@ Slide to the opposite side.

The trick is to raise veftical lines from the

rerspective line where trees will be placed.
/
Golumn:This technique can also be used for drawing opposiig doors in condominiums
and hotels and opposing windows on trains. 69
.w.
 Drawing shrubbery
Shrubbery can be round
or square. lt is best to
simplify it.

ooo
Square type Round type

r
i
,
:

Think of square shrubbery as a Like tree-lined roads, round shrubbery is

rectangular parallelepiped in perspective. often planted at even intervals.

''s.
l
shrubbery, think about how
light is hitting them.

6't
A tree consists of leaves and a trunk.
There is no need to draw everything. ln the case of both trunks and
leaves, do not draw the parts with light hitting them.
Think about the direction of the light and draw the shadowed parts.
Give the trunk the feel of a trunk and leaves the feel of a leaf.
-
 kEler@-L@tesE

:;:, nese parasol/Maple

$.
i'-\)44
: Y/
!^ \v//

1--l-**
Sycamore

iN)N'\
\( \N) t\
CherrylZelkova

M
ffiffi
AurNS, @ g"
Chinaberry/False acacia
Example: Roadside trees
drawn close together

Example: Boadside trees

drawn far apaft

T-
 l{ow, ..hi had6illlsii.,iiii.....i

1;. r:urself the following Shining from directly above:

: - :S-rrons when drawing Shadow is short (around noon).
:* j[o''vS. 'What is the light Shadows could be various
-: -'ae?" "What direction is shapes depending on the
:-n qlt coming from?" shape of the ground and the
presentation.

Shining from an angle:

Shadow is somewhai long.

[0rcr']-rng or evening:
SiirEi,ow is long.
--:
:
-
:
-,,r8I the sun is, the
:" :te shadow will be.
qI

Evening sun \-t The lengths of shadows

created bY sunlight are
-.*=€ t:4^-^-r
different depending on the
++
time of day.
East West When drawing shadows in
6:00 manga, choose the length
18:00
and direction of shadows
16:00 14:00 by thinking about what
time of the day it is.

Shadows
Sunlight
below eaves

solid.-
summer Make them
't,:,',',,,,.',,t'.,'.,

Rays are weak in spring and

fall. so shadows are also
kht - Use tone and
dagnnal lines. Shadows are in line with the rays
Tle rays of the sun reach of the sun.
te ea'tir as oarallel lines.
 Shadows formed by small objects

Perspective is
used for
shadows created
by artificial light.
Dlace the
When light source is
ranishing point above, shadow is short.
r the center of a
streetlight and
determine the
shape of the
shadow by
lonnecting it
,,rith the object
When light source is above and
:eing Iit. to the side, shadow is long.

Shadow formed by
florescent light is faint.

When there are two sources of light,

two shadows appear.

The candle is emitting light in alt

directions. Shadows are formed in
perspective to the center of the flame.
The shadows are faint since the light
itself is not very bright.
At the heafi of this
matter is how to
place objects. Draw
objects in the
foreground bigger
and objects in the
background smaller,
and place mid-size
objects between
them.
 For rain in t-own,'diaw
buildings and shadows in
a free-hand using shorl
Iines.

lur,l_lr,,"ll
t"-- i,i rl

l'
flwfl$rlj'

Technique for solid parts

Gradate parts in the distance.

Use slanted lines Add rain lines using

Draw trees and other objects using drawn free hand. white correction fluid
slanted lines. on solid pafts.

:i#r-*_.li=lr_-
 Rivers
Draw rivers using the
Vanishing point
techniques for drawing Horizon
roads. Choose a
vanishing point and
draw free hand.

Normal river Use two vanishing points for

(use technique for straight road) meandering river.

1;-*:'-

Technique for river surface

I Add touches with pen in

accordance with the
direction and skength of
&e current.
)epending on the clouds, keep perspective in mind when drawing them.

Perspective and natural objects

You can use the concept of perspective without alteration
for drawing rivers, rnountalns and other foreground '

objeets tlmt move ofi into the distance.

with a sense of distance or any object you want to give a

sense of distance.

77
Various

Scratch with the tip of a cutter.

Cumulonimbus
Blur by cutting out, erasing with
a sand eraser and shaving.

Setting sun Apply layers of tone and shave.

iii:,,ti1ll|;tiiltl:iiitii,iiiitit

78
 Chopter 4
Drcrwing Indoor Scenes
Ho I lwoys/Silo its/ Smq ll Obiects
 There are two ways to make a hallway in a
narrow frame look wide.
O Draw using irregular two-point perspective.

" ';,:",11
\:4..'l rrlt
\i.,,/,f \
s#
|Z/Y'

t,,,,,,fi,tr .l
:l

::,lil.
Itl:1:::I1,.lli
t+:....:l:::!l
\i:{:i}/
l:/r';Altl
i ,T,1,,/

t:i,H
0.Y."E)

Hallway drawn using regular

one-point perspective

@ Widen hallway

Method to
Vanishing point for right wall Vanishing point for left wall

widen hallway

[Jse rregular two-point

cerspective when the
,',,'rr of the hallway is
fued due to the setting.
I
 -re farther apart the two points are, the wider the space will be.

Narrow space Wide space

When you
reverse the
points the
walls are
drawn from, it
becomes
narrower than
one-point
perspective
(when the two
points are
close
together).

Draw the right wall from The closer the two points are, the
the right point and the : closer it will be to one-point
:rr
E
left wall from the left perspective.
point. *

. :'3SSUre.
-se when you want to create tension or

E.
lrregular two-point perspective is a technique used to emphasize
buildings in the foreground.
Use this technique when drawing dead ends and T-shaped junctions.

o This technique is often used

for drawing
the background when you want to put the
character in the center.
. When drawing scenery alone, buildings
should end before and after the vanishing
points. (unique to this technique)
Example: Dead ends, three-forked roads,
insides of cars and airplanes, etc., that
serve as a background to characters.
. When using this technique for T-shaped
junctions, draw a wall or house directly
ahead (on the horizon).

Character background/Town

Example: T-shaped junction

lrregular two-point perspective comes in handy when you

want to make a narrow space (hallway, etc.) look wide or
make a scene in a narrow frame Iook wide.
82
i:i.iii

83
A character sitting at a desk in class. First
imagine the composition you want and
draw a rough sketch.

View from above

Rough sketch
Find the vanishing point from the shoulder line
of the character and the desk line.

Vanishing point
\]"'J*xqa
!\.

\ Shoulder
r..

The horizon is determined after the vanishing point A character sitting at a desk.
has been determined. The character, chair and desk are
After finding the vanishing point, draw a line directly to the side. usually parallel to each other.

Not drawn in perspective

You may draw round
c,mers free hand, (6)
but trey will lmk sharper you
ovartemprate.
I use an \__/-.
\ ]0, :1.0.r,0
be visible.
arso draw the parts that
wiil not

The height of the

chair is about
half that of the
desk.

l
i
t
Draw straight
.L
from around this t_egs angle oui Side view
slightly.
85
d
Common chair/desk composition and the horizon

Vanishing point
rii:. Horizon
The distance
between a
character and a
wall is represented
by the relationship
between the
position of the
character's feet
and that of the
floor line.
Near the wall
 {<
.')/,
//,

R
lndicate the presence of a wall by drawing a shadow.

lraw a line separating the ceiling and walls.

Give the wall a sense of presence by

drawing shadows on both the floor and wall.

lraw a window or bookshelf behind a character.

Use shadows and the room layout to create a
sense of distance between characters and walls.
89
When you want to draw a room
with a person sitting on the couch
You are standing
Room plan
watching TV as seen from one wall,
here with camera
staft by drawing an outline of the
in hand.
r00m.
Ceiling height
240-270cm -* 270 cm
Draw the opposite wall and draw a 240 cm

door, the ceiling, the floor and walls

on either side.
160 cm
150 cm
Then draw furniture and the person.

80 cm

Side VIEW
Relationship between person, Staft by drawing
camera and ceiling this wall
270 cm = 8.86 ft.
240 cm =7.87 fi.
160 cm = 5.25 ft.
150 cm = 4.92 tt.
1. Drawinq the ite wall 80 cm = 2.63 ft.

O Draw shape of wall.

Draw wall lines from four corners.

@ Draw door so it
looks natural relative
to the ceiling.
. The room may be any width you choose.
. Since the view is that of a standing person, draw the horizon at about j50 cm.
Placing the vanishing point a little to the left or right of center will make the
picture look better.
I'l o The ceiling, floor and sidewalls are drawn using lines coming from
the vanishing
point and passing through the corners.
. Draw a perspective line on the left and right walls that are the same height as
@ Determine horizon the door.
and vanishing point
column:The perspective line that is the same height as the door acts as a guide for
based on the height of
determining the height of furniture. Drawing a perspective line with a distinct
the door.
height is the key to drawing backgrounds in both indoor and outdoor pictures
90
2. Drawino a rouoh sketch

T
I
{
,,

l'aw the interior on the basis of the plan.

Reference: Completed drawing with character

 O Draw a projection.

80 cm = 31.5 in.
40 cm = 15.75 in.
25 cm = 9.84 in.
15 cm = 5.90 in.
@ Draw thickness. @ Draw shape.

Vanishing point

Create the overall shape of

the couch by connecting the
Determine the height of the couch
vanishing point and the top
based on the 150-cm wall line (same as
of each vefiical line.
height of horizon in this drawing).
Determine the thickness from this,

150 cm = 59.06 in.

80 cm = 31.5 in. Make corners and edges
70 cm = 27.56 in. round to make it look like a
couch.

92
 - l:al'r a projection.

Vanishing point

i Determine height.

Height is about half that of the couch.

80 cm = 31.5 in.
/, th the table against the wall,
40 cm = 15.75 in.
:;lermine the height of the table
-:m the height of the couch.

@ Add thickness.

When drawing the legs, also draw

the portions that will not be visible.
93
 5. Drawinq a TV stand Like the couch and table, start by
drawing a projection.

Determine the thickness and

width in relation to the couch
drawn earlier (they do not
have to be as exact as the
depth and height).

Looking at the floor plan, draw it in

Iine with the table, for instance.

Completed drawing

Column:Draw indoor scenes using one-point perspective. (Two-point perspective is not used very often.)
 Small objects on not show this portion.
tables and desks
- 1
)rawing without using
-.erspective
/)
- a scene where one side (or
,,, o corners) of a table is not
, s ble, draw without using
:
"'spective.
Show this part of the table.
Small objects on
tables and desks
Drawing using perspective
-
2

Use perspective for drawing objects

when the edges of the table or desk
visible.

Small objects on a table drawn using one- Tables are often drawn using one-point
point perspective each have their own perspective, but objects on a table seldom use
vanishing point on the horizon line (they all the same vanishing point as the table.
share the same horizon line).
How to draw cups
Circles on tables

Horizon

lncorrectly drawn
. When the top of the table and the horizon line
are close, use an oval that looks like this.

Thin ovals Iook like O are often used for long shots.
Long shots are used for explanatory scenes with
almost the entire body of a character and background.
lncorrectly drawn
When the top of the table and the horizon line are far apaft,
use an oval that looks likeQ .

Horizon

B@
The farther away the circle is from the horizon
0vals that are almost circles are often used
line, the closer it becomes to being a perfect
for close-ups. Close-ups are used when you circle.
want to make a strong impression or you
want to magnify something.

Draw the bottom oval of

cans, etc., round.

K/
\7

BB
98
Drawing small ,bfits--_l When drawing small objects made up of squares, simply
Using cellular phones as an example draw all vertical and horizontal lines parallel to each other.
I
Drawn using one-point Drawn using two-point
perspective perspective

ffi The shapes of small objects will not look

good if the vanishing point is not pretty far
away.

ff$

Use one-point perspective when perspective is

used from the standpoint of presentation.
99
You do not normally think very much about
perspective when drawing beds. When
drawing a character sleeping on a bed,
think of the cubic effect of the person's
body.

-1-r,rr \tN
;/ //lll\
l_< ll, r/
l[, ,,9
"
Build a simple model when it is difficult to
come up with the cubic effect of the
mattress and person.

A doll made with a marble,

ballpoint pens and an eraser was
laid down on a handkerchief
mattress. Tissue paper was used
for the covers.

Column: Use perspective when you want to create an impressive effect.

100
101
When drawing open doors, place separate
vanishing points for the frame and the
door.

When viewed from above,

/ffi
draw a circle with the axis
as the center. ,'

\_v The doorknob is in the center.

The doorknob is @,,

on the left.
l"
V

-\
\
\l+
r\, l
/f-'+ I

I
# I

l,'re
1\i i

\
ing height
i40 cm

240 cm = 7.87 fi.

180 cm = 5.90 ft.
160 cm = 5.25 ft.
80 cm = 2.63 ft. I

Determining door width

. Start drawing the width ol the door
from the side with the doorknob.
o Make the width of a door drawn in
_t
perspective slightly nanow. :Make the distance between the top of the door and the ceiling
about B0 cm, which is about half the height of the character.
 O Draw the door as seen from @ Draw the door open at 1B0o
straight on. angle.

No matter what the perspective

of the height and draw the door of the door you want to draw
as seen from straight on. is, make it look like this when
you draw an open door.

@ 0pen the door.

O Draw an oval (locus of door).

Draw the bottom door line

Draw an oval that passes through the indicating how far the door is
apexes representing the corner of the open.
door. (l-he oval path the door travels
when opened.)

Top of axis

@ You get an open

door drawn in
perspective.

Vanishing
point of
opendoor
\

Door locus
Door vanishing ,,'
lil
f/
Horizon I
@
I

Vanishing point
of open door

Vanishing point
of open door

-r_

/= Upper vanishing
The door point
vanishing
point is far
away.
Move the
vanishing point
to the left when
--l
you want to
make it look like ^
,rrhlL
you are
up from the left.

C Draw supplementary line for inclination. lnclination vanishing point

Like slopes, draw

// stairs using two
toinctinatidon vantshing point vanishing points.
@ Draw width.
ffhe normal eye-
level vanishing point
and a vanishing
point for
determining the
O Determine step height.
inclination of the
stairs.)

Vanishing point

line for determining step width.

Width line comes from here

Stairs are drawn in one-point perspective using

two vanishing points and two supplementary lines.
105
 :Vanishing point
;
(eye-level
vanishing point)

. Always draw the width line

from the eye-level vanishing
point.
. Draw the parts that will not
visible as well.
 Loddng down a
-- .x of there being
-: -orizon when you .' f}

:-, r, stairs from the /t*,"-.1L

, /,
*&.
::: coking down.
i. i
t,
-'.,,, them using -I
two-point
'.::'ral
:* "r:eCtive.

l''0'iurnn You cannot see the horizon in a picture looking down a flight
of stairs because of the
composition of the picture.
107
 When drawing a side
view of stairs, there is no
need for an inclination
vanishing point. Just pay
attention to the eye-level
vanishing point and
horizon.

The angle of inclination of the handrail

and that of the stairs are the same.

Difference in appearance depending

on viewing location in relation to
Difference in appearance depending
horizon
on viewing location in relation to
Right of vanishing point
vanishing point
Left of
vanishing point

Above horizon Above horizon

. Cannot see
Vanishing point upper surface

Below horizon

Right of vanishing point

. Can see height of steps

Below horizon
Left of vanishing point . Can see upper surface
. Can see width of steps
 Chopter 5
Howto Drqvn
Bockgrounds
leoming by Doing

-1"
Let's say you have a name and a character for your manga.
All that is left to do is draw the backgrounds.
Let's take a look at the actual process of drawing manga
backgrounds using perspective.

Draw town scene here

(residential area).

Proposal draft
('neemu' in Japanese)

Draw school here.

1'10
r- ihe case of manga, you
-:_rally draw the frame at the
-::er
*-
left or the top row first.
s helps keep the page from
:;:ring messy.

Reference photograph

- Determine horizon and vanishing point.

Vanishing point

= Draw road.

lolumn: when drawing, mask the frames you are not

working on with paper to keep them as
clean possible.
as
111
3 Draw buildings on the left.

Determine the height of the show window

and other buildings by sliding the
character over.

Raise the character to the level of the

sidewalk.

.*.- 240 cm
240 cm = 7.87 ll. 200 cm *
190 cm
---- - 220cn
220 cm =7.2211. 180 cm
200 cm = 6.56 ft. 160 cm
190 cm = 6.23 ft.
180 cm = 5.90 ft.
160 cm = 5.25 ft.

Think of the street entrance of the building as being 2 meters high

and the show window as being 2.4 meters high. Use the
character as a guide when determining the size of the building, The height of the show window is
i.e., the height of the character plus number of heads. between 200 and 240 cm
r- @ Draw buildings on the right

Slide the character to the right and determine the height of

the vending machine, which will be used as the basis for

Height of yending machine

When there is a sidewalk, raise

ffie dummy to the level of tie
180 cm
sidewalk.

G y,l?t,i:H[i :3'Jffi 111,., €**-

t--i-'-\-
....\
180 cm = 5.90 ft
175 cm =5.74fL
160 cm = 5.25 ft.
lfi) cm = 3.28 fi-
80 cm = 2.63 ft.

180 cm

Comparison of character and

vending machine
 Reference photograph

m
Next is a school. There
will be no character in the
scene, but start by
dr'awing the foundation
and a dummy character.

O Draw a character next to the school and determine the

horizon and vanishing point.

O-t Draw horizon at eye level

(middle of ground{loor window).
O-2 Extend sloping line in rough sketch to
get vanishing point (point of intersection
with horizon line).

300 cm = 9.84 ft.

280 cm = 9.19 ft.
180 cm = 5.90 ft.
1 60 cm
= 5.25 ft.
120 cm = 3.94 ft.
100 cm = 3.28 tt.
90 cm = 2.95 ft.

/_y*,*
cm
Even if itwill not appear In the
picture, clearly draw the sudace
where the character and the
school come into contact to
make sure they are balanced
conectly.
 @ Draw contour

,, .&,.
s ,r1
t8': .l
,i;j :
,
i1 ;,
irjYi

t -*t"'
i . -.."-{:"1-
1'

l
li
'3-._ a a
I11 i. I'i
tti
I'
Iai
ll

@-2 Divide eachfloor., ./ @-1 Determine each floor by dividing

into four parts.

I
ffi
I
t

t
ffi

f
H
-..-..-_.-i-
l

I
---"'t.
ffi
I

The eaves, window and wall ratios of into four parts starting
Side view
schools and other buildings are the from the first-floor contact
same for each floor. surface that is not visible.
 3 Draw windows.

Clearly draw the overall window

border (including parts not
visible).

@-t Find center

by drawing
diagonal
lines.

Draw remaining
windows.

@-g Draw
supplemen-
The depth ratio of tary lines.
windows is the same
for every floor as long
as the perspective is
not from above. Thus,
for the remaining
windows all you have
to do is extend the
@-4 Divide
window lines from
each into
another floor.
two (to
divide
window
into four).
116
3 Pen drawing I

Do not bring background lines

Tape a thumbtack over the into contact with characters.

vanishing point.

Masking tape

4
Thumbtack
fi

1./'
';r tr;3*|nn lines in the direction
Lir
of the
;:- i.- r"rg point, tape a thumbtack over the
;r-:il' ng point. Using a ruler with the
'" - -:-ack as the axis makes it easier
to draw
:::* -:,:gh sketches and in pen.
 Erasinq and white correction fluid

0mit intricate parts. Represent

them by making use of shadows.

Not joining the edge line to the

corner better creates the mood of
a building.

118
tr

Soft touch: Use little tone.

rard touch: Apply tone discriminatingly.

Z,
-N
Scrape uniform curve using
Think of perspective when blade tip of cutter.
determining tone cut.
119
 Adding tone 2- Residential area

+re
The page is complete
after you have finished
adding detailed tone!

Soft touch: Use little tone.

124 Hard touch: Apply tone discriminatingly.

 :

€* #
\,
 that you see around yourself
every day can all be used in your 270 Ceiling line
drawings. lt will be very helpful when
drawing manga if you know the size 240
of objects around you. Remember
the size of objects relative to the size
210
of human beings (yourself).

180
160 -
150

120

90

60

30

Average adult male Average adult female Desk

180 cm 160 cm 70-80cm

330 (10.83 ft.)

t
300 (9.84 ft.) =
Height of first-floor
About 3 m
270 (8.86 fr.)

240 (7.87 tt.)

210 (6.89 ft.)

180 (5.90 ft.)

150 (4.92 ft.)

120 (3.94 ft.)

90 (2.e5 ft.)

_-,60 (1.97 ft.)

ffilg'eft.t

122
 One interval = 30 cm
(about one character head)

135 cm (4.43 ft.)

Chest of drawers Mattress height

30-40cm

Low traffic signs and signals.

The signs are 3 meters (9.84 ft.) and
tall signals can be 5 meters (16.4 ft.)
0r more.

123
 Adding reflection tone to windowpanes creates
a more realistic atmosphere.

Shadow from opposite building

124
E.
 Chopter 6
Speciol Efhcrs qnd
Chorcclrer Rryresenlqlion
Using

(n
Use of perspective € ---- --
is not limited to - -./
!L il
buildings and \-l, ---.
'- 1-.t.

backgrounds. lt can
be used for
il
anything that is
pafi of a picture. J
That includes H
E
U
special effect lines
The sword in this picture was drawn in
and sound words. Side Front
perspective, but the sound word and special
effect lines were not.

The special etfect lines (concentration lines) were drawn

from the sword's vanishing point.

i,
I
^y
.:-t1
rl
,l

. Special effect lines

when the vanishing
point is in the picture
. Draw them toward the
vanishing point.
This sword was drawn with a vanishing point farther away and
the special effect lines were drawn accordingly.

. Special effect lines

when the vanishing
point is outside the
picture
. Draw them away from
the vanishing'point.
llo
fume of the contour lines of this sword were represented by
;anted lines pointed in the direction of the vanishing point. SHHHHRRRRRR

perspective in
mind to make
them look
cool.

127
 Special effect lines when the vanishing point is
outside the picture.
Draw them away from the vanishing point.

Design the word. Draw veftical lines

in general direction of vanishing
point.

"BANG" was drawn with the

inclination of thesldnted lines in
milld.

W
# wW
4t# <*" '
*

Sound words do not have to be drawn perfecfly in perspective.

Draw them in a deformed, perspective-like manner while
thinking of depth and direction.
 hating a Greater Sense,of ,rExbtBnceiusing,,, Minor {eehniquer
-+- . :icture strictly Vanishing point
t': ' - !,vo-point
- :::i::ve does not turn '-\\
" .- :€ very interesting,
- : :-: perSpeCtiVe
,.,, i"l3
,,- -; ,erlical lines
6": , -. anted will create
.',i.= -rf existence and
:I-

Do not go to the trouble of

marking a point. Draw a
house assuming that the
vanishing point is above
the house.

af,_

irianga and dratting techniques

'.^y drafting techniques are used to draw manga, but
:-:;;ing manga is not dratting.lf it is effective to do so, use
:",ting techniques flexibly. For instance, you do not have to
-.= three-point perspective just because the vanishing point is
'-,:ve the picture. 129
 Perspective rulers
fioo Corporation) are
transparent, plate-
type drawing tools
with floor and wall
perspective lines.
,They come in one-
point, two-point and
three point
perspective types. 0ne-point perspective type
They allow you to
ffhe horizon line was added in this book.)
easily draw objects
Two-point perspective type
with vanishing points
far away, so use the
type that matches the
angle or image you
want.

Dedicated ruler

Three-point perspective type

lf you assume that one

graduation is 20 cm, the
graduations are designed so that
the height of the horizon is 160
cm.
When you align the dedicated
Ceiling heights and room
ruler that comes with it with the
plate's curved surface, slanted compositions are freely

lines and depth lines will

\- determined by choosing
graduation positions.
converge on the vanishing point.
.-\

t)

The two-point perspective ruler can be used

as the basis of a one-point perspective
background,
130
 @ Align horizon of perspective ruler.

,
P
uil
----\

r: :. 3 graduations on
]tliirrcE itive rulers to
'tr'"r"'ill potential.
,, i' : ,:( Convenient tO
.iut,r{ :El'spective rulers
,r*,1' :rawing a rough
ilr: - ,

@ Draw perspective liries

', "':ru a horizon line on
-r:-r 'rugh sketch when
..ril -,: ffie one-point and

"ililr,{- :,0int perspective

",:,r Serspective rulers.

Using a kacing box

Tracing paper is usually
placed over a perspective
ruler, but using a tracing box
will be more efficient.

131
The horizon line is two steps down
from the top of the stairs. The horizon
line is oblique relative to the picture.
 lren if you draw a character normally, you will get a powerful
:,rmposition by tilting the horizon line,

Simple one-point perspective-

all the artist did was tilt the
horizon line.

The ground has been tilted.

The buildings were drawn
using vertical two-point
perspective.

Eo,lumn: 0veruse ol this technique of

tilting the horizon line relative
to the picture can result in a
page that is confusing to look
at. Save it for special
situations.
133
Looking straight up.
Simple one-point perspective.

rffi
',f, irr ur [a ril rrl lt

na lra arr tta ltr lrr lll

One-point perspective where the horizon

was tilted and curved.
Draw perspective lines and special
effect lines using curved lines.

t
,/,

fr
W
@rc
 us $1g.ee

PUTTING THINGS IN MORE ABOUT PRETTY GALS PEN AND TONE TECHNIQUES
PERSPECTIVE tsBN4 7661-1242-3 l5BN4-7661 -1 258-X
lsBN4-7661 -1 256-3

COSTUME ENCYCLOPEDIA HOW TO DRAW ANIME & GAME HOW TO DRAW ANIME & GAME
lsBN4-7661 -1 2s7-1 CHARACrERSVOL.I CHARACTERS VOL.2
|SBN+7661 1120-6 tsBN4 7661-1 174-5

HOW TO DRAW ANIME & GAME HOWTO DRAW ANIME & GAME HOWrc DRAW AI{IME & GAME
CHARACTERS VOL.3 CHARACTERSVOL4 CHARICIIRSVOT.s
tsBN4-7661 1 1 75-3 tsBN4-7661 -1 254-7 lsBN+7661-',t 276-8

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ISBN t{ - thl-Ia5b-3

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