Brenda Hoddinott F-05 BEGINNER: HATCHING This project guides you through the process of setting up proportional guidelines, and using symmetry to draw the facial features and hair of a male anime character named Kobrah. Super simple hatching lines are then added to the face to create the illusion of three-dimensional reality. The overall proportions of most anime adult faces are similar to those of a human child, giving the characters the appearance of having a childlike head attached to a mature adult body. This lesson is divided into the following three sections: INTRODUCTION: The term Manga encompasses a vast array of individual styles of drawing, which allows artists to use their creative license in the design of their characters faces, hairstyles, personalities, and clothing. SETTING UP PROPORTIONS: I take you step by step through the process of setting up proportional guidelines on a frontal view of an adult male anime head, and sketching his facial features, ears, and hair within the proportional guidelines. OUTLINING AND SHADING WITH HATCHING: You add the hair and more facial details, then outline the drawing with nice neat lines, and finally add shading with hatching. If you choose to render this drawing completely in pencil you need: good quality white drawing paper, graphite pencils, kneaded and vinyl erasers, pencil sharpener, sandpaper block, and a ruler. If you plan to use a marker for the final version, you will also need a fine tip permanent marker, and you should use a drawing paper that is specifically designed for drawing with markers, rather than regular paper. You may even wish to add color to your drawing with such options as colored pencils or markers. This project is recommended for artists from age 10 to adult, as well as home schooling, academic and recreational fine art educators. 17 PAGES 21 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada 2004 (Revised 2006)
- 2 - INTRODUCTION The term Manga encompasses a vast array of individual styles of drawing, which allows artists to use their creative license in the design of their characters faces, hairstyles, personalities, and clothing. The eyes of anime characters generally appear disproportionately large, and are the most expressive part of their faces. The nose and mouth tend to be drawn small and simple so as to further emphasize the powerful expressions of the eyes and the facial area around the eyes. Refer to the next drawing and become familiar with terms used to identify each part of an eye: 1. The arch-shaped group of hairs, above the eye, is known as an eyebrow. 2. A fold in the skin, above the eye is called an upper eyelid crease. 3. The upper eyelid is a movable fold of skin that opens and closes to protect the eyeball. 4. The white of the eye (the visible section of the eyeball) is light, but not really white. 5. A highlight is the brightest area where light bounces off the surface of the eye. 6. The pupil of an eye is the darkest circular shape within the iris. 7. The iris is the colored circular section of the eyeball surrounding the pupil. 8. The lower eyelid is a fold of skin protecting the lower section of the eyeball. ILLUSTRATION 05-01 SETTING UP PROPORTIONS In this section, I take you step by step through the process of setting up proportional guidelines on a frontal view of an adult male anime head, and sketching his facial features, ears, and hair within the proportional guidelines. Proportion is the relationship in size of one component of a drawing to another or others. Keep in mind that the facial proportions of this adult manga character are very similar to those of a real life child.
- 3-1. Use a ruler to draw a straight line down the center of your page (Line AB). Use an HB pencil, and keep your line very light so it can be easily erased. Line AB is a line of symmetry and provides you with a guideline for drawing both sides of the head the same size. Symmetry is balanced arrangement (sometimes referred to as a mirror image) of lines and shapes on opposite sides of an often-imaginary centerline. You simply measure various horizontal distances on either side of the line. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. 2. Choose two points along Line AB to be the total length of Kobrah s head, and draw a horizontal line through each point. The greater the distance between these two points, the larger your drawing will be. The upper line (at point A) marks the location of the top of his head, and the lower line (at point B) marks the bottom of his chin. 3. Measure the total length of the vertical line AB (the total length of the head between points A and B), and mark the halfway point. 4. Draw a horizontal straight line (Line CD) through the point. Line CD divides the total length of the head in half. 5. Mark the halfway point along line AB (between Line CD and the horizontal line that marks the bottom of the chin), and then draw Line EF through the point. ILLUSTRATION 05-02 Line EF divides the lower half of the head in half. 6. Mark the halfway point between Line EF, and the horizontal line at the bottom, and then draw a Line GH through the point. Line GH divides the lower quarter of the head in half.
- 4 - ILLUSTRATION 05-03 7. Sketch the basic outline of the bottom half of Kobrah s face with an HB pencil. Keep your lines very light so they can be easily erased. Use the line of symmetry (line AB) to provide you with a guideline for drawing both sides of his face the same size. 8. Lightly sketch the top and sides of the upper eyelids. Note that the tops are along line CD. Use the line of symmetry to help you draw both eyes the same size. Observe also that the eyes seem far apart. ILLUSTRATION 05-04 9. Draw a curved line to mark the opening of the mouth in between lines EF and GH. A curved line is created when a straight line curves (or bends). Curved lines can be drawn thick or thin. Note that this line is closer to line GH than EF. Leave space for his lower lip, the bottom of which will be even closer to line GH. 10. Add a tiny dark section, on each end of his mouth to mark the corners.
- 5 - ILLUSTRATION 05-05 11. Add a line under each eye to identify the location the edge of his lower eyelids. 12. Sketch another line under the opening of his mouth to mark the location of the bottom of his lower lip. This line is almost touching line GH. ILLUSTRATION 05-06 13. Lightly sketch two V-shapes with slightly curved lines. The upper v-shape marks the place where his hair grows from the top of his head. The point of the V is at point A. The lower V-shape identifies the outline of his hairline (commonly known as a widow s peak).
- 6 - ILLUSTRATION 05-07 14. Add the outline of his hair on each side of his head. Remember to measure various horizontal distances on either side of the center line. With lots of practice drawing manga faces, you won t need to draw the proportional lines with a ruler. You ll be able to simply eyeball the lines and distances in your mind. ILLUSTRATION 05-08 15. Use angle lines to sketch the positions of the top and bottom of each of his ears. Angle lines occur when two straight lines meet (or join together). The angle lines marking the tops of his ears begin on line CD and are drawn upward and outward from his face. The angle lines marking the bottoms of his ears begin on line EF and are also drawn upward and outward.
- 7 - ILLUSTRATION 05-09 16. Draw partial circles to identify the positions of the irises of his eyes. 17. Draw the eyebrows. Observe their overall shapes, and the angles of the outlines. Take note of how close together the center sections of the eyebrows are to one another. ILLUSTRATION 05-10
- 8-18. Draw a long thin triangular shape (the pupil) inside each iris. 19. Add two comma-shapes as the nostrils of the nose. 20. Lightly sketch the texture of the hair with curved lines. Watch closely the various directions in which the lines curve. Also, remember to keep your lines very light by applying very little pressure to your pencil as you draw. ILLUSTRATION 05-11
- 9 - OUTLINING AND SHADING WITH HATCHING In this section you discover all the fun parts of this project. You first add more details to Kobrah s face and hair, then outline the drawing with nice neat lines, and finally add some hatching lines. Anime cartoons tend to be rendered with thin neat lines. Keep a pencil sharpener and sandpaper block handy so you can easily keep your pencil points nice and sharp. 21. Erase your proportional guidelines, and redraw those sections of the sketch that have accidentally been erased. I softened the angular sections of the jaw and chin by making the lines more rounded. ILLUSTRATION 05-12 ILLUSTRATION 05-13 Drawing symmetrical faces and heads becomes quite simple when you ve devoted lots of time to practicing this skill. A couple of helpful hints include: Try rotating your paper and looking at your drawing from different perspectives. This little trick often allows you insight into the problem areas. Looking at the reflection of your drawing in a mirror will also help you to see areas in need of fixing. 22. Use your kneaded eraser to lighten the sketch lines of the hair until you can barely see them. Pat the sections gently with your kneaded eraser. Refer to the drawing on the next page. 23. Take your time and carefully redraw the hair, paying extra attention to the curved lines which outline its perimeters.
- 10 - ILLUSTRATION 05-14
- 11-24. Add three strands of hair growing down onto Kobrah s forehead. Note that one of the three strands is large and the other two are smaller. Also carefully observe the directions in which the lines curve. 25. Use your kneaded eraser to gently pat all your sketch lines until they are so light that you can barely see them. ILLUSTRATION 05-15 In the final steps of this lesson, you add more details, and outline the entire character with a freshly sharpened dark pencil such as a 2B, or fine tip black marker. From there you may even want to add color to your drawing; you can color only the eyes or add color to the entire drawing.
- 12-26. Outline Kobrah with dark, neat pencil lines or a fine tip black marker. Take note of the small sections of the pupils of the eyes that have been erased to make room for the highlights. Adjust your drawing accordingly. ILLUSTRATION 05-16
- 13-27. Use a 2H pencil to very lightly map the hatching lines on the hair, ears, face, and eyes. The light source in this drawing is from the right, so the shadow sections are mostly on the left. Light source is the direction from which a dominant light originates. The placement of this light source affects every aspect of a drawing. The light source tells you where to draw all the light values and shadows. As you become more familiar with drawing cartoons, you may no longer need to draw your lines lightly before you finalize them with a dark pencil or marker. ILLUSTRATION 05-17
- 14-28. Draw the hatching lines with your dark pencil or fine tip marker. Take note of the top sections of his hair, keeping in mind that they need to be filled in very dark later. Don t forget to draw the outlines of the highlights in his eyes. If you are using a pencil, keep it very sharp. ILLUSTRATION 05-18
- 15-29. Fill in the upper tips of his hair, his eyebrows, and the pupils of his eyes very darkly. 30. Add hatching lines to the inside sections of his nostrils. 31. Darken the outlines of his upper eyelids. ILLUSTRATION 05-19
- 16 - ILLUSTRATION 05-20 If you wish, you can add color to his eyes with a fine tip marker or colored pencil. You may even want to try adding color to the hair and face. ILLUSTRATION 05-21
- 17 - BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. >Brenda Hoddinott< Born in St. John s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted Learn to Draw books. During Brenda s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from Forensic Artists International. Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites. Drawspace http://www.drawspace.com incorporate her unique style and innovative approach to curriculum development. These sites offer downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. These sites are respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world. LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies (2003): Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiot s Guide to Drawing People (2004): Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.