J's Online Drawing Lessons

Puffing Characters into Scenes and Drawing Backgrounds

• How to Draw Manga Step by Step

When putting characters into scenes and drawing backgrounds, put the principle of placing the character inside a perspective into practice.

© While looking at :ho balarce of tho he« liner, dodde 0' the eye-fowl..

First, give shape to the area of the space, area and the sizes of the character you want to draw.

Next, creat the box space of your character. Draw the box in a freehand style while looking at the overall balance.

F rst. draw a lino at iha shculd&rs and tise it as a

© While looking at :ho balarce of tho he« liner, dodde 0' the eye-fowl..

© yxjur vanishing peines and put itio pcrspectve linos in nrdor.

Stan off doir»3 it freeltand and then later _se a ruler to put tilings In order.

Using the box,! tlie 'eye-level' (horizontal lines and vanishing points.

Lines used lor thinking about the positional relationship of the television and the character.

mk ■ i-v.ti: u««r a'eas, shape tn try; ebjftcis.

Use ar-y number ot perspective lines a? necessary

When you have added too many lines or are unable to see necessary lines, tidy up by erasing unneeded lines.

Us.nc a pen type eraser a convenient '01 srnaJ, debate a'eas.

When you want to keep the necessary lines in tact and erase unneeded lines, cover the necessary lines with a piflr.fi nf paper and go over the area with an eraser.

After freehanding the background, tidy up the vanishing points with a ruler and finish outlining.

★Placing a thumbtack in the vanish-rig points helps.

After putting the perspective lines that will make up the basics, draw as if you are placing objects into the scene using those lines as a yardstick while thinking about the size of the character.

Draw lines in the unseen areas too when thinking about the three-dimensional form of objects.

Lines used lor thinking about the positional relationship of the television and the character.

Next, do the inking. The basics of pen inking the lines that make up the shape are to draw the outer outlines on the thick side and the inner lines on the thin side.

Be careful not to draw the same kind of monotonie lines.

good example bad example

Complete the work, adding peninking.

Complete the work, adding peninking.

Ihe Key point nere is the areas drawn in black. In addition, use black tor shadows and the like. Keep in mind that you are actually drawing the space and nor merely filling in the shadow.

Deal with the bocks and other Ih ngs in the bookshelf us ng a fine-pant pen giving the objects an actual likening. It is good rtca to show the richness of the lines by handling the details like in the above illustration. View a variety of drawings and try researching on your own.

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A Word on Actual Living Spaces

As a basic rule, think of perspective from the character's point of view and then consider backgrounds using the same rule for exterior scenes.

Up till now we have advanced up through the basics of using one or two vanishing points; however, in actual living spaces there are numerous vanishing points and taking these from an eye-level would take a long, long time. In addition, the character itself is not aJways just standing still. When there is a lot of action, you can't line up the background perspective with the same direction of the characters.

Adding tones finishes off the work. The key point here is the shadows added by the tones. Since shadows have light and dark colors in them, pay attention to their usage.

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So what do you do? Really the only thing to say is to set things up so they don't look strange. We'll start with Lesson 1. First, in the middle of a piece of white paper, consider the space of the walls, the ground and the floor.

Draw as if you are placing ari oued on :rn ground iri the scene.

For Lesson 2, consider various angles of the objects and character when viewed from a television screen or the four-sided images as seen through a camera viewfinder.

Draw as if you are placing ari oued on :rn ground iri the scene.

At first, you might not be able tc imagine objocts that yo. see every clay, but hang in there and koep drawing.

Keeping those images in mind, fill in the white space by imaging the space and copying the images into it.

At first, you might not be able tc imagine objocts that yo. see every clay, but hang in there and koep drawing.

While perspective is an important concept, it's not like you are drawing blueprints or anything so set a higher value on what looks goods as opposed to what is exact.

While perspective is an important concept, it's not like you are drawing blueprints or anything so set a higher value on what looks goods as opposed to what is exact.

Add in the outlines getting the perspective from the main building.

A/range the outlines using a ruler.

Once the outlining is done, add in the pen inking. Then, complete the work by adding tones for shadows and the

A/range the outlines using a ruler.

Background Checkpoints

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