Professional Documents
Culture Documents
Kazuaki Morita
Shigo Yamaguchi Design Office
Motofumi Nakanishi (Graphic-sha Publishing Co., Ltd.)
Shinichi lshioka
Lingua franca, Inc.
Michiko Yasu ((Graphic-sha Publishing Co. , Ltd.)
Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)
All rights reserved. No part of this book may be reproduced in any form or by any electronic
or mechanical means including information storage and retrieval systems without permission
in writing from the publisher, except by a reviewer, who may quote brief passages in a review.
Every effort has been made to ensure that content and credits accurately comply with
information supplied. We apologize for any inaccuracies that may have occurred and will
resolve inaccurate or missing information in a subsequent reprinting of the book.
First printing: April 2011
ISBN 978-981-245-934-3
Printed and bound in China
Telling the Story of a Space: The Evolution of a Two-Dimensional Space into Three Dimensions
Vertical
(Height)
Adding diagonal lines to
give the figure a sense
of depth transforms the
character.
Horizontal (Length}
Two-dimensional
objects are portrayed
using only height and
length. They lack a
/-:
/
\""'
__
/
---.:_~
- ---
( Horizon Line)
Drawing a three-dimensional
character engenders a sense of
space.
(Diagonal (Depth})
Horizon Line
-'
\
........
7
In general, the
photographer or artists
positions the horizon line
similarly to that shown in
B when intending to
evoke a feeling of depth.
3IOW.
Above
Seen from below
Seen from above
Below
Below
(Adding Diagonal Lines to the Worlds Above and Below to Create a Sense of Depth)
If a drawing of a room had no diagonal lines, it would look like this:
--
-r-
""' ""'"
r-
\\
; --
I'(
--
f-
/
r1
1/
lJ
.1.._
I
~--..
""->-
.J
'
\
\
"<:.
'
~/
0
~-...
II
) iff ;.--
I\
1 1--
'
/
/
//
-.;_.
I
/
I/
//
-:. ............
/:...-/
... .........
....
.........
~~
---~ ~
":-
..
I ~/./
.. /
.
~
.-~
~I
Eye Level
...
~~
1./
-..
'-
~+
I
II I
...
_i_~
\
\I
Note that this point is located along the horizon line (eye level).
This point where the diagonal lines converge is called the "vanishing point."
~
~
'\]
10
I
I
Upward
Arcing Curve
Above
The bottom
surfaces are
visible.
Eye
eveI
The closer the
.__......_ _ cylinder's sections
1
are to eye level, the
more they will
distort into narrow
ellipses.
The upper
surfaces are
visible.
Bela
Downward Arcing
Curve
Below eye level, bottom surfaces of threedimensional objects are not visible.
Above
Characteristics of Spaces
Making an object smaller creates the illusion that it is
farther away from the picture plane.
Below
;t::::.=::::::::;lr
Eye Level
Drawing a second
figure at half of the
first's size and
positioning it by the
first creates the
illusion of distance.
11
12
Difference
in Height
13
(3)
Suddenly, a bent edge appears. Diagonal lines emerging from different directions create
the feeling of depth and an expanding space.
Height
14
Point 2
Diagonal lines converging at two points
generate the illusion of depth and an
expanding space. This is known as
"two-point perspective."
Tall
Taller
(:)
.->
--
! Viewer A
---
~~----
:
--:~-----
16
(Use Three-Point Perspective to Create the Illusion of Looking up or Down at an Object froman Exaggerated Angle )
Consider the Appearance of a Solid Object When Drawing in Three-Point Perspective
Have a clear idea of the
human figure's size.
Position a point
somewhere above
eye level and then
draw the object.
Correct
Incorrect
Seen from
Below
Low Angle
Eye Level
\
Seen from
Above
Correct
High Angle
Position a point
somewhere below
eye level and then
' ....- -draw the object.
Contents
Purpose of This Book ....................................................... 2
Portraying Space and Volume o o.... .............. 3
From Solids to Spaces
Portraying a Space That Expands Infinitely into the Distance
Chapter 2:
Two-Point Perspective for Practical Composition
Creation .................................................................................. 79
The Basics of Two-Point Perspective ......................................... 80
Dimensions
Two-Point Perspective
Drawing Architectural Structures .... .......................................... 84
Chapter 1:
Basic Compositions Begins with One-Point
Perspective ...
19
1. The Basics of One-Point Perspective ..................................... 20
0 0 0 0. 0 0
0 0 0
128
Stores
Chapter 3:
Advanced Compositions Using Perspective .....159
The Basics ofThree-Point Perspective .................................... 160
Compositions Portraying High or Low Angles
Seated Characters Drawn in Perspective ................................ 174
Drawing While Using Photos as Reference.............................. 184
18
Chapter 1
19
The Most Basic of the Techniques for Portraying Depth and Distance This is a drawing technique used to make
Length/Width
Horizontal (Length)
/
Vertical
(Height)
Height
/, ..- - - - - - - - v
:
0
Transparent Perspective Projection
)-/
/"'
~
~./!
ft-~ ~{ ~
P.l.
t:IJ'
~
'W 7
20
[I)
[2J
Draw a square.
'
_j&1
rAJ
',,, - - -
vanis~1ing
t\:+
:
....
'
point.)
'
-;--- ------ --- ',
'
'
'
'v
/
-- -----.
'
ffi)
Add a single,
vertical line.
.------cjift
\
\
/
..
21
Establish where to position the horizon line (the viewer's eye level)
according to what angle you intend the viewer to view the subject
matter. When you intend for the subject matter to be viewed from
above, then position the horizon line (eye level) high on the
composition. When you want the subject matter to be viewed from
below, then position the horizon line (eye level) low on the composition.
Subject or Landscape ~
(Subject to Be Portrayed)
Neutral.,. .... ........................ ............ .
-- - - - - - - - -
__./ Top
Front
Platform
The viewer
looks up.
~ Bottom
~
The bottom is visible.
22
--
--
[ ]:
_,_____
> ~
<.
From a neutral,
straight on position,
neither the top nor the
side is visible.
Vanishing Point
Vanishing
Vanishing Point
Point
Position for Viewer B
Vanishing
Point
Vanishing Point
Position for Viewer A
'
''
'
-,.
,"
'
--........... _
'
I
I
'
l
,
~:
- ------ -- -~-
~' "
)..< ::::. _ _ _ - --
"
'' '
Viewer A is looking at
the solid from straight
on.
--
----- --- ~
I
I
/.-----
The vanishing
point shifts to
th'e,r-ight.
------ -- "'
---
Subject:
'
'
.
U
I .--------- - .
Solid's Appearance
from Viewer A's
Perspective
__ ,.....
..
Solid's Appearance
from Viewer B's
Perspective
Solid's Appearance
from Viewer C's
Perspective
ThiscP.a~
sphere, but she does
not look like one.
23
High Angle
Neutral Angle
Low Angle
Close-ups
High Angles Are Also Bird's Eye Views
Profile
24
Neutral Position/Composed
Upward from the Chest
Eye Level
Neutral Position
Profile
Low Angle
High Angle
25
Establishing the Horizon Line and Vanishing Point at the Rough Draft Stage
'i
J~~
,_ I
~ II
I_ I,
Sketch a rough
draft.
~,
\
f'
0
Once the corridor's width is established, then its general
appearance becomes set.
Corridor Width
o(
v--
Vanishing Point
Draw a door-like
rectangle.
Connect the
rectangle's four
corners to the
vanishing point.
r.
Narrow Corridor
26
[J
(5) Final Composition of Corridor
Mock-up Rgure
27
Wall
Wall
Floor
28
L _ , L . . __ _ _ _ _ _ _ __,___.}
Incorrect
Correct
1
I
Correct "foot
line" or "ground
line. "
Incorrect
29
Horizon Line
Ground Line
Draw a straight -on view of a door next to a
mock-up figure.
Transferring a Mock-up Figure around the Corridor to Establish the Door Line
Transfer a mock-up
figure along the
wall and sketch in a
door approximately
where you intend
to position one.
. .~
Door Line
I /
,I
'
0
Extend a line from the top of the door all the way to the wall's end
and draw a diagonal line to connect where the door line meets the
juncture of the two walls to the vanishing point <2). This becomes the
"door line," which represents the height of any door.
30
./
Transferring the Position of a Mock-up Figure
Draw vertical
lines where you
intend to have
characters
stand.
\-
\,J.
L,__------'------'
Draw the
characters.
Corner B
Draw horizontal lines from Corners A
and B.
0
When drawing knobs, aga in
transfer the width and
center laterally around the
space.
Corner C
31
'
of Window ---- -
........- - - - . . , - ----------------------------- --
1>- ~
Top of Door
~ r-- --------~ -,rr --c;;~;~~t~~:~ -------
Bottom of
Window
------ ~-
Eye Level
/
Sketch the doors, windows, and ceiling using
simplified, abstract forms. Use the character's
height as a yardstick to determine the scale of the
other components.
Using the Character to Establish the Scale of the Doors and Windows
Easy Technique for
Setting the Doors' and
Ceiling's Heights
Sketch a mock-up figure and
then draw the top of the door
one head-length above the
mock-up figure's head. This
establishes h
is.
32
The ceiling is an
additional two headlengths above the door.
--0
~~~~h1
\~
\
~~
~ <:-;'
r
!....
~7
This is a mock-up
figure drawn next
to a door.
Vanishing Point
Horizon Line
This is a second
mock-up figure
used here to
determine how
high to draw the
window.
33
11
Correct
--
'
Correct Example
Incorrect Example
0uter wndow
Frame
1
/ Inner Window Frame
/
"'
Point of
Incorrect
Intersection
Example
Windows' Center
34
D.
Correct
Example Note how the point of Single
intersection lies at the Window Pane Overlapping Window
windows' center.
Frames
Correcting Mistakes
\
This shows a simplified
corridor. The position of the
window and its shape has
been sketched in roughly.
/
<D After dividing the window in two,
draw an X through the front half.
<2) The front half is now divided into two. <3) You have now drawn a window
Likewise, draw an X through the far half. with four panes in perspective.
35
~~ ~~ ~\
(j) Draw diagonal lines toward the vanishing
point.
This diagonal
line intersects
with a depth line
at this point.
r-'-....
.:......'YF '==\ ---+
t--1-1-\~~::3;::-
36
It takes patience
to do this, but you
get beautifully
drawn floor tiles as
a result.
_L
;~
t
~-1
G> Simply repeating this process allows
you easily to draw horizontal lines
moving gradually into the distance.
Shown here are basic lines of perspective, the distance between the
first two trees, and the diagonal lines forming the "N".
37
Lateral Transfer
Transfer Mock-up Figure A to the location of
Mock-up Figure B to establish B's height.
Transfer Mock-up Figure B laterally to set B's
position.
38
A
8
39
( Drawing Close-ups)
Finding a Vanishing Point for Drawing the Characters
Line Connecting
the Tops of the
Character's
Heads
L_
j(
Line
Connecting the
Characters'
Jaws
______ .__.-<{f~
.---------l~------\-1---
=~~~-~.
-:.'.--.--+r:--7'.-
:J/ 't,;.
~r
-~':..:.'---+-----'>.~--#---,-----":~~~--)!+-~-
Eye Level
1-/~
40
Matching up the
Characters~
Characters~
E'=
_......_.......___
,. Eye Level
1:6 Head-to-Body
Ratio
41
1:4.5
1:6
1:7
1:8
1:7.5
-=F-:I
42
Groin
,7
I
Final Composition: This section explains how to draw the characters so that they appear to have
different heights, while maintaining a sense of depth.
Positioning Characters
1. Establish One Charact,er as the Main Mock-up Figure and the Desired Positions of the Other Characters' Feet
~-----+-
~-+-
Little Boy
43
Va ishing Point
CD
~ Connect
I
I'
M
~
":!~:!<-
{\
44
E
Body Ratio
'
'~~
~ '/
'
)v
~ <1\)
.{ _.:;
'
t
~'
' J
!r
i'
'
Draw the characters according to the appropriate height guides.
Take care not to alter the positions of each character's feet.
45
Rough Sketch
Main Mock-up Figure (B)
46
'I
Rough Sketch
4-
Boy
Girl
v--- cv
---
I
i
_)
47
The World
Above (Low
Angle)
The World
Below (High
Angle)
........?-.
\
Characters are composed eithef from a high or low angle when the horizon
line is centered in the composition (i.e. composed from a neutral position).
48
Incorrect
Correct
The above shows characters drawn from a low angle. The hips and
collars slope in upward curves. The heads are drawn proportionally
smaller.
Incorrect
Incorrect Example:
Here, the artist
composed the figures
from a neutral angle.
They look awkward, as
if they are about to
topple backwards.
These characters are drawn from a high angle. The hips and collars slope in
downward curves. The closer the characters are to the picture plane (or camera
lens), the more the tops of their heads become visible.
49
---~'"".,.,.
,....~_........,.:;-
-~
...:::---
)
(Corridors Are Tunnels)
Now we are left with only the floor. We will look at this
remaining floor as a "road," and use that as our
departure point for learning about the outside world.
51
(Narrow Streets )
+-I
i
.I
L=
I
I-
I-
1-
I
When drawing a narrow corridor like that shown above
first you would establish the corridor's width and draw the
floor, and then you would draw the walls and ceiling.
The same process applies when drawing a narrow street.
Use a mock-up figure to determine the positioning and
sizes of building windows and doors as you draw.
52
/
Vanishing
Point Used in
Positioning
the Figure
~\
@
I
J
Mock-up Figure Used as the
Basis for Scaling
D Draw a line from the feet of the main mockup figure to the position desired for the second
character. <2) Draw a line to connect the second
position to the original mock-up figure.
:I r
53
(Wide Streets)
~f-_JJ I j;-=-!
r~ r/- J
.,.1
I;
'
..
-- --
------::..-..
As when drawing the doors and windows of a corridor, use vertical lines to
create boxes for buildings.
54
0 Size the figures to match the large and small circles drawn previously.
(3) Now the figures walking along the wide avenue are finished .
55
(Broad Avenues )
~
b
'"~-
;l l
~~
)~_ ...
/'
Horizon Line
--~
-----------tv-t-~'i"--~===1=:~~~~~4~-+--~'1_-_~
-__:_
56
~-~~
.r-- I .
--- - 1
-~----
-..,--=:-~~=========='f+~A~~----------
3x the height
of one mockup figure
---"~"'----t-t-+l=dt----.,;--:,.:r-~r-------------
2x the height
of one mockup figure
--~~--t-t-+t-----M~~~~--,:'!~---------
1x the height
of one
mock-up
figure
57
- !
58
r
Transferring a mock-up figure
located slightly under the
horizon line to other locations in
the composition further
accentuates the sense of a high
angle perspective, which, in
turn. results in an awkward
composition.
Using the
~~ x
II
Horizon Line
(j) Draw the horizon line and the trees closest and farthest
from the picture plane. If the vanishing point's position is
predetermined, as when drawing an avenue, use this point
as a basis for drawing depth lines.
<2J Conceive of the tree as one of the rectangle's sides and sketch a
(3) Use the "x method" to locate a point midway between the two trees.
....
......./
.. /
. .
... .
-';
........
I\_
-t:
,)
I~
-.:-
l .. ____ _
._}
@ Now we are able to draw a third tree at the midway point between the
original two trees. The next step is to create another geometric diagram
using this new, third tree and the tree close to the picture plane to locate
the midway point for a fourth tree between these two.
G) Draw each tree as if planting one after the other, closer and closer to
59
LllJQ
60
r~;
verticali(d~~6)
v
LJ[JQ
Mock-up Figure
61
~~ing District)
Use eaves, overhanging roofs, awnings, etc. to make the store fronts
look convincing. Also, incorporate fancy street lights ancl other
accessories to evoke the authentic feel of a shopping district.
( T-shaped Intersection )
Mock-u
Figure
62
(Single Street )
Reference Photo
~A
Use diagonal lines moving toward the vanishing point to establish the positions of jutting
out eaves, awnings, and roofs and to establish the heights of buildings' second stories.
63
Use multiple
vanishing points.
Vanishing Point
Envision buildings
along the street.
Picture building
along the street.
/
__
~-:..' ~
~~./
...-;
:
64
'~ho
U ~~~ections,
~ Vanishing Point
/ / ' of the Original
Tunnel
/--:?'
/
BJ
Horizon
Line
/
/
Vanishing Point
of the Uphill
Sloping Section
/
,/
Vanishing Point
of the Downhill
Sloping Section
65
(Bending RoadsJ
0'
H,ouse B
[
-,
I
(
House B's
Vanishing
Point
Dynamic Composition
.,.
67
Gentle Curves
<2> Use arcing lines to connect the points where the roads
intersect with each other.
Sharp Curves
~--
--....
~-
'
'\
68
(Drawing Rivers )
-~-
7
<D Establish the horizon line and draw a curve.
~ ~~verbank's
'\:ge
~
Cross Section of a River
he Difference in Height
between the Riverbank
and the Water's Surface
Winding Rivers
69
(Sloped Streets)
[j
Use one-point perspective with two vanishin(l points along a single direction.
(Uphill slopes)
_I L
Slope
Moving up
the Slope
Flat
Ground
Site Sketch
Flat Ground
Draw a single street.
70
. I
.~\:
-.....
/'.
//
Position a mock-up .
figure at the gate.
Inclined Section
,_
~--T--*---\--r-
Flat Ground
Horizon Line
Imaginary
Horizon Line
- - - -- - i
Flat Ground
Horizon Line
Flat Ground
Section
(Downward Slopes)
~
\
'
1.----'
Reference Photo
Key Points in Sketching: Draw One Vanishing Point for the Road and Another for the Houses
Uphill slope
Correct
Downhill Slope
Incorrect
Correct
Incorrect
Draw the houses' depth lines moving toward the vanishing point
positioned along the horizon line.
Imaginary
Horizon Line
To tr.ansfer a mock-up figure laterally, first position a vanishing point along the
imaginary horizon line.
73
~~
Apply the same process for drawing an uphiill slope. Draw the scene in onepoint perspective, using two vanishing points located one above the other.
(Upward Steps)
/ ,.___ _ _ _ _ _ Steps' Vanishing
Point
If there were no
steps, then this
would be a plain,
uphill slope.
Steps Fundamentals
Line Connecting
Height!
...
Depth
The line connecting the steps' edges and the line
connecting the steps' bases should run parallel to
one another.
15 em
(Approx.t
5 7/8") ~
30 em (Appr~X--11 13/16")
c
--
74
Standard Steps
20cm
(Approx. 7 t
7/8")
~
20 em ~T'prox.
7 7/8")
~
<3) Draw a vertical line from this point. This creates a third step.
Visible Surface
I
Height of
a Single
Step
-+-=~""'"""'=-------- - -
/;'/
1/
//
1
Depth lines should all move toward
the vanishing point.
Height lines should all be vertical.
Horizontal lines should all be
_ _..__ _ _ _ _-----t@r - - -..-)1 absolutely horizontal.
--;. v
<D Position the mock-up
figure next to the
banister.
75
- -
---...
,
Incorrect
The above shows an attempt to
replicate the atmosphere of the
rough sketch. However, the figure is
seated with her posterior pressed
all the way against the step's back,
resulting in an unnatural pose.
Rough Sketch
-r
I
II
Now let's produce a rough sketch, while keeping
in mind where the horizon line and the vanishing
point are located.
Oraw a threedimensional sketch
of the character
from a high angle.
Oepth
Height
This will solidify how high and deep each step should be.
76
In the sketch above, each step's depth, the stair's slope, the character's pose, and
other major factors have been solidified for the most part.
Horizon Line
Vanishing
Point
'~
~\
/
'
IN
dvanced readers might want
i:
to attempt (See p. 192 )
- \~
~~~ -~ ~j..\
II
/%
/j.
~/
/,
,'
l)
___
~-
--
.....-:.. ..
,___.
I
~
~~----
------ .....
--
./
...
I
Add the banister and the background to finish.
78
Chapter 2
Achieve Heightened Three-Dimensionality with Two-Point Perspective Using two vanishing points increases
the number of diagonal lines, which
accentuates the sense of an expanding
space or object as well as enhancing
the illusion of three-dimensionality.
Height
---+--
Vanishing
Point
Horizon Line
D
~~~
-c:JJ
D
ffi ;
Hoc;>ao Uoe
Vanishing Point
:
I
.....................
X: --__ ___
Vanishing
Point 1
Vamsh1ng
Point 2
Toward Vanishing
Point 1
~-
Horizontal
Vanishing
Point 1
80
Vert;ca;
Toward Vanishing
:~ Point 2
~o /
Vanishing
Point 2
Vanishing
Point 1
-)(-'--
Vanishing
Point 2
The World
Above
,__
I
I
-- --
--------
Ll
--
The World
Below
The more the columns - - - --'1:'
approach the picture plane,
the larger they appear.
High Angle
~~
'1
Ground/Floor
Horizon Line
Low Angle
--- ~
Using two-point perspective to differentiate the world above from the world
below allows you to create a space easily.
Using an "upside-down Y
effect" produces walls
and a floor.
81
.--- -r
I
---=:-
I
I
I
4
-_:~=-- ~--
I
------------
Correct
Acceptable
Incorrect
l
,___
,:x - -
)(--+-~~'
'
'
L._.____j
These buildings have well-balanced silhouettes.
Vanishing Point
{jB
Horizon Line _.
- - - L__
82
Vanishing Point
',
'~
'
\"-----,~
"~
_-
While the top of the house does not appear in the final composition, the
artist drew it in the preliminary sketch. Failure to include hidden areas in
the preliminary sketch could result in that object appearing awkward in
the final composition.
. 1\
83
( Buildings)
84
Ill
'
DD
lit
I
II
J[ Cli
II
I
II
1-- 1--
./
ID Jl
I
~
--
[j
1- f.1---
Ill
I=
l_i
1--
1--- 1----
r---
f=
1
Glass Curtain Fa~ade
~r-. \
!, ~
Fa~ade
Standard, Two-Story
House
Two-Story Apartment
Building
Three-Story Apartment
Building
The interior floor level is elevated.
85
L--+~~--~~--11
'
86
f)_
(j)
'
------ @
Mock-up Figure Draw the fence and wall surrounding the house in perspective as
well.
87
-,~~-
/'
/.
:
-_:::::::::.:r
-
~------
'
---
--
+6
I
Horizon Line
Top (Ceiling)
'
award a Vanishing
Point
~.
Toward a Vani
Point
Drawing the
Rovf
_.
Using the "X method," locate the center of the top (or
bottom) and draw a vertical line.
~--
88
Draw a box to represent the house itself. Next, using the "X
method," locate the center. This center line divides the house's
second floor from the first floor.
89
90
~~<ams mg 01n
Vanishing Point
3
4
4
Divide the wall's right and left sides each into
equal parts. Aim for four to five parts.
91
(Assorted Roofs )
' ""-, ..
""'"-,, . . . __
.,_
"V-_
/ ~-..,,
-----..
'
'- .,,
This is how a
typical clay tile
looks. The ends
overlap.
Use a diamond-shaped,
checkered pattern.
92
Terracotta Roofs
J:'-
~S)(
- I
~:~ .
'\ ,_ .
/
\.
1.Ji. I'
""-
Projecting Eaves
93
Vanishing
Point 2
94
.~
c~~ ~.:
~,
Positioning Characters: Aligning Characters' Heads along the Horizon Line, Transferring
Mock-up Figures and Reducing Head-Lengths to Differentiate Characters' Heights
Vanishing
Point 2
...............
/
I
95
Reference Photo
Vanishing
Point B
Vanishing
Point C
Incorrect
Horizon Line
..
--~
enlarg~f!!~DUm this-fYouse.
. . ---
--~-----------------------
Towar
Vanish1 9-\
,- - Point B
-r-
Draw the street, and then draw the exterior contours of the garden wall
and house, adhering to the street's perspective.
96
Horizon
Line
Axial Line
97
( T-shaped Intersections)
Reference Photo
Street A
Street B
\Poin1 of
View
..
~1--.;;;....-....,_-+t-..UL.
Toward Street
B's Vanishing
Point
-1
98
...
Street B
Street B's
Vanishing Point
Poin of
Vie'vl
. -
Street A's
Vanishing Point
f,.
99
that continues
straight on, forever.
fhis is not something
we encounter regularly
in real life.
Vanishing Point
100
I
--- I
101
(Front Entrances )
Setting up a House 1S Front Entrance
Use a human figure as a basis for
scaling objects.
-.J-h-,...,.,.....lX-U~:!:==t=;"
-+.:u:==::::=:::~~~_j:_ Feet
Front Door
- +...-r------
_,.,.,--
/
102
--{j
-~---r-:::
. ==~==~"'-t__ Top of Door
i
.
1
~
'l"'ll-H----
,.,
~ffi]
I ~
-==;g---~
~'2!'!!!.;;'-.;;c:=i:iii!!o!iiii
,;
~~t\"""'_ Bottom
of
~
Wall
I
I
Distance between
the House and
the Wall
There is a difference in
elevation, so use a mockup figure less one headlength in height as a basis
---
j_
1:_\l ~
+:L
""-..
lIi
..::t-
I;'
i:f
':1
Horizon Lin
-"
~!";
'-I
II
~ o::
Tl
-:::
I ..
[I
Va nishing Point of
J!l .
~I
IJ
[[]
"
~
'>
--.......
[]
Whi le you should not draw a
composition without
establishing preset terms,
adhering too strictly to t hose
preset terms will just hurt
your work. Always think about
how to compose your artwork
effectively so that it suits
the scene.
103
Bay Window
Large Window
Loveseat
Coffee
Table
Start off first with nothing but a side table and sofa.
Produce a rough layout of how the room
should ideally look.
---
Toward Vanishing
Point 1
~~--
Toward Vanishing
Point 2
Toward Vanishing - _
~ll~
I1
f!
I
-t
--
II
'I
?;
I
104
Embellishing
Adding a Bay Window and Roughly Sketching in Curtains
Toward Vanishing Point 1
~~ii==~;:=~~~ff
_,.
~e--.t..._~ ~ ~
~~~
.A-
Adding Potted Plants and Adjusting the Forms of the AirConditioner and Curtains
Toward Vanishing
Point 1
It has turned
into quit e a
105
Posterior--co:t::::=:-;:<.-:==;f!i=-~.._--------,r-
Top of Seat
(Seat)
--~
Floor
...~
~
1-!.~tiJ.~~: ~
/
'
Top of
Chair's
Back
\ll'Y.--r-t-========:::;r- Top of
Desk
l:h::~~......,...,d----\-~--------l-
""{------~---- .. V/
106
Top of
Seat
Sketch a box to
represent the
wastepaper
basket.
Clean up the sketched lines. Draw the character and add details to the chair and
the desk lamp. Finally, add in peripheral details, such as the bookcase and the
wastepaper basket to finish.
107
r
I
Higher Angle
Figures and Sizes of Furniture and Other Objects Often Found in a Room
Tall Armoire
I
Door
Figure
Window
Frame
Bottom
Desk
Chair's
Seat
Bed
108
-- ----- - --------------- -- - -- --
";,. I
/
,,,'
~
p
Room Layout
"'I
! '
'i
//
--/~
-~
-l
' /f
109
11
f---
--Horizon Line
'
0
rr~~
41\f/ ~
,,~pv
'
\) l
'
Hinged Side of
Door
.
"
This line
intersects with
the horizon line.
~y
Open Door's
Vanishing Point
Extend Lne
running!straight
down.
vI
Attach the open door's vanishing
point to the door frame's corners.
110
, .g
\..)
'
/T
Thickness
F====l
li~
\
!<='
'""
*Door Frame
Overhead View
Hinged Side of Door ".
Door
~~---..~ ---Position of
Door When
Closed
Trajectory of Door
in Motion
*The ellipse
describing the door's
trajectory or range of
motion does not
change, regardless if
it is drawn above or
below the door.
"''"(__..-/
When the door is open just
slightly, the vanishing point
is located far from the door's
hinged side.
The wider the door is opened, the closer the vanishing point
moves to the door's hinged side.
111
l "'
............
Size Contrast between the
Character and the Door
Draw a line to
define the floor.
bfs
1'
"-~ '
'-'-'Ls:.J..O...;~
'!
The door is
approximately
twice as wide
as the character.
~\ :;I
/!hl1.
Draw the axial line
against the wall.
Now the
" "~~'! J . ~I
.:Y
Extend the
character's height by
one head-length. This
marks the door's
height.
~--:
--
~
--~
I ..
Draw a line
delineating the
top of the door.
:~
, -
! ,.._,
character's height
has been
transferred to the
wall.
The door is
approximately twice
the width of the
character, so double
the character's width.
Side View
Door's
Depth
Front View
End of Door
----0
~
n'
I ~
0
i
'6
0
I
{l)
I
~
I(
lik
,01
I
I
113
Turning Doorknobs
--
,.....I
t--
- - - f---
,....,
r--.....
i
I
I
~~
~~~
i
""""'==
r-----
'--------
114
1---
'
~
~V
..
tf/
@)
(I
-,
r--,
>
II
.I
b
cc
L---
v
,____
--------~==========---------------------------------------~1 1 5
~-
Armoims
Right Door's
Vanishing Point
0
0
tr====r===n--------------
I .
0
Bottom of Doors
116
Lockers
Opening Lockers
Locker's
Vanishing
Point
/'
117
Janitorial Locker
1
Coin-operated Lockers
CJ
118
Refrigerators
L
(
._....-.....---------------
Large
Mediumsized
Small
Horizon Line
Close
~~~----------~------------~--
Far
Refrigerator/
Locker/Armoire
As the door's
vanishing point moves
further from the horizon
line, the ellipse's radius
becomes gradually
longer (i.e. the door's
width becomes
gradually wider).
Overhead View
119
Window's -Center
1I
1
'
1
I/
1 f_3 /
The bottom of
the window's
frame is
approximately -----...-t--__,
level with the
character's
navel.
~---
'
L,-...,-;--:-:--=--- - - - - - - - - -- --__j
120
Incorrect
;~
\\
Correct
Exterior View
The above shows an interior view
composed from a high angle.
When drawing, make certain that
you give the window frame a
convincing thickness.
, /
.~.. / ,
-.
//
121
\r
./
\.....
I
This exterior view was composed from a low angle using two-point
perspective.
The above shows an interior view not drawn in perspective. The heel of
one foot is raised, creating the impression that the girl is leaning out the
window.
Horizon
Line
122
Incorrect
Correct
Exterior View
/
The above is an interior view composed at a low angle and drawn in two-point perspective.
123
(Japanese-Style Rooms )
Drawiing a Prototypical Japanese Room
,,.
1.
-f,t
- H1k.t; "'di>.
Close-up
Establish the general contours of objects and then add the details and
finishing touches.
>.
1'\.~l'il- - t+\
'~;.;=..--
=.'==-=r<ft"
I
~!
- ~yi:'""
~ -. ,,, ~
-\--
--
'.~
I..-
~'~--, I{
~-
-a.
d\~
.....
I
.i
.,
!,
\f i
,: ~~ I' _'
,n
' I
\ 'l f
. !
\1.1/
\:
125
Produce a rough
sketch.
Establish the
table's height.
)
~
126
Decide where to locate the vanishing point and draw the table.
Sketch the characters as manikin and establish the poses,
carefully drawing the figures' joints first.
127
Schools
./
Establish the overall form based on a
reference photo. Use the front
entrance as a basis for establishing
the height of the structure itself and
for the division of each floor.
Reference Photo
Position Where the
Fourth Floor Begins
Position of the ,
128
Establishing the divisions between each floor, keepi ng in mind where the
front entrance will be located, where the fourth floor will begin, and where
junctures between wall surfaces meet.
Support Depth
Toward a
:<..
Vanishmg Pomt
:--
-1-...L.-----+-....______
story. Each
IA
"l A
story
the
same isheight.
1---...
CUb
"<:?'"
....
..
-~
Toward the
Vanishing Point
--- --------1
p;...
iS'
~~ "'~
" r--. .~
IY P.
~----
~-
'
... .-
k~ ~"
-...,
1..:
--.. -
1--
I-Final Composition
129
When
a. classroom, first
. establish th e position
of
the drawing
point of VIew.
.. and height
(Classrooms)
"\
t
Point of View
The above shows a ro
classroom The I
ugh layout of the
ayout allo
general idea of th
ws you to get a
depth proportioni; classroom's length=toestablishing th ~ as well as clearly
e pmnt-of
checkerboard patt
-view. Use a
ern tore present the desks.
130
---
length above a
standing figure's
head.
Final Composition
Drawing figures sitting, standing, and engaging in a host of other activities enriches the composition.
Furthermore, standing figures should not be drawn stiffly erect but rather in a variety of postures.
131
Toward the
Vanishing Point
132
cP
0
OJ
F=
II II II 1 I
r -_
II II II I
1l
1 I II II II
II II II I I II II II II II II II II I ll U I Jl II ll
ll II ~
~II II ~ 1 ~--,__._rr-:ll -~r=l,~l II II ,_ ' ~ I, II ~
/
:~
=-or
_
ll
I
II II II II 11
/''
_n
lllJ
1!1
!;;;;;;;;[[
L -
I
II
'
.UI
II
This composition
begins with the floor
line and the standing
character.
133
Rough Sketch
~' c 1..
\ -- -\~------- - ------ - -- -. ~?
ti \
?
134
Chair's Back
rl
~
Seat
\
\
Floor
Basic Point 2: Using the sketch of the chair's seat and the
floor underneath the chair, let's establish the vanishing
point's location and draw the chair's back to match this
vanishing point.
3. Revisiting the Challenge: Redrawing the Chair to Match the Desk's Perspective
Horizon Line
~-
,A :t
~2.
.ID
135
\1---------------
'.
~~
~f
,.
._J
,~ 'f'11'1~
I r--- t--
I~
?
0
...(_]
Once again, there are two
vanishing points.
'II'~
~
2. Solution: Whether to Use the Desk's Top or the Area of Floor Underneath to Establish the Perspective
A. Using the Desk's Top: Making the Upper Body the Composition's Focus
Horizon
Uoe
----..'\.c.____
/\
1 \\
~
L
B. Using the Floor Underneath the Desk: Making the Lower Body
the Composition's Focus
In this case,
the desk's
underside will
Horizon --tt----....::::,....., - - - - - 1 + come into
view.
Line
~\
--
sopports
underneath the
desk should also
move toward the
vanishing point.
136
An inspection reveals
no problems in the
perspective.
inu~~
Is this supposed to be
simulated one-point
perspective?
-----.:
Sketch lines
The body's
upper surfaces
When reproducing
this on your own, be
sure to draw the torso
as a threedimensional object as
seen from a high
angle.
[ -D"k:op
65 x 45 em
(Approx. 25 5/8" x 17
11 /16")
39.5 x 40 em
(Approx. 15 5/8" x 15
11/16")
137
(Nurses Offices )
High-Angle View of the Nurse's Office Seen from the Door
Partition
CJ
Stool
Cot
Bench
Cabinet
'
'
Room Layout
- - - - - - - - - - -Horizon Line
138
Ceiling
--1----- ~
Floor underneath
the Medicine
Cabinet
I II
Cot
Wastebasket
Scaling Diagram
Partition
Positioning Characters
""'
;.
139
140
(Gymnasiums )
( Exterior View)
Horizon Line
It might look
complicated, but really
you can reproduce this
gy mnasium using only
boxes and the ~~x
11
method.
Toward a
'<P-~l
~:yco~dmro
~---
................
/
The vaulted roof is actually a fusion of
an ellipse and a rectangle.
142
~-+-
Overhanging
Roof
~/
Repeat the "X method" several times to draw all of the windows.
143
\\
(2J Establish where to position the horizon line
and the vanishing point to create the interior
space.
If there are no
rectangles to use,
then draw a single
1 : - - - vertical line
anywhere along the
wall to create a
~"---rectan(jle.
Draw doors to match the intended look
and position mock-up figures
strategically throughout the space.
144
Area Intended to be
position t he
second-story
catwa lk and
windows, etc.
Final Composition
145
(Family RestaurantsJ
:]~
-
[
The roof's lines converge at this
vanishing point.
:=q
-*"-----'.~
The above shows a rough sketch. Take extra care at this stage
with creating a sense of expansiveness, maintaining awareness
of perspective (i.e. where the vanishing points and horizon line
are located).
...
roof's primary
lines converge toward
the vanishing point.
146
(Drawing Signs)
Incorrect
.
. a box with rounded corners tends
Smce
drawmg
tw to be
difficult, instead sketch a box and then draw o
rectangles with rounded corners.
[[~@~[p@}
1~[oJITI ~[oJ
~~
147
/
/
'
Seat Parts
148
-~1l~
to locate the
tabletop 's center.
149
I ~~
'
~
1
~ ~ q'lrl
/.
L '1
v v ~
1--
f\.
- ;...-
~~-L
- ----=--
~'
~~
I'-
q']
G~
,.___:;-/
'
150
Positioning Characters:
Booth seats in a family restaurant
typically are tall enough so that the
patron's legs below the knee touch the
table's legs.
~.
Final Composition
L___ _ _ _ _ __ _ __ _ _ _ _ _ _ _ _ _ _ _ __ ,
151
Fast food restaurants tend to have glass fa~ades and front entrances. Sketch
the fa~ade, remembering to match the scale to that of a human figure.
152
Front Entrance
'
16 em
(Approx. 6
1/16")
add a close-up
of a character.
153
- - - - - - - - - , - - - - - - - - Horizon Line
154
Convenience stores located on corner lots tend to have glass covering all of
the sides facing a street. However, unlike a fast food restaurant, only the front
entrance has glass that goes all the way to the ground.
(Convenience Stores )
E
.
-I
lLn~11--M~- 1
.
. - ----
_ c - --
J----- -
t-
f
!
155
(Registers})
(Registers II )
I
~
)I
I
~------------~~
essentially the
same as drawing
a single street.
Rough Sketch
Incorrect
Correct
Creating a drawing in
perspective that has
"depth" and
"expansiveness" gives
the viewer a sense of
stability.
157
Potted Plants
Trees Rendered
Almost Entirely in
Silhouette
as well as makes the
space seem more
luxurious.
158
Chapter 3
Advanced Compositions
Using Perspective
159
Vanishing Point 1
Horizon
Line --------"'
~
-=---------------.~
~--y;:;
t.,
Vanishing Point 3
\
\
I
\
Vanishing
Point 3
Horizon Line
:::::>
Vanishing Point 1
Vanishing
Point 2
Vanishing Point 1
Vanishing Point 2
--=-----------___,..Horizon Line
---~-<::.::::::_
160
a downward direction so as to
match the rough sketch.
Vaoishiog PoiotJ
) Vanishing Point 3
Draw Line C moving toward
Vanishing Point 3. Position and
angle the lines toward the
figure's underside so that they
converge at Vanishing Points 1
and 2.
Vanishing
Point
161
y
'
' (,
I
I
\~~--
~ ~
\
.
//
~
162
'
;:-----.....___
I
I
I I
vf l
When drawing steps from a high angle, "simulated threepoint perspective" gives the composition a more natural
look.
163
164
Creating a Composition Using Three-Point Perspective and a Vanishing Point for the Staircase
Horizon Line
A vanishing point located toward the
composition's lower left gives the scene
depth. Consider setting the vanishing points
to the right and left far apart to create width
and depth lines that are virtually parallel to
prevent the composition from appearing
unnaturally distorted.
--_....__ -+-
This shows the character drawn as a sketching manikin and threedimensional solids rendered in a simplified manner.
Use Three-Point Perspective and Low-Angle Compositions to Create the Expansive Interiors of Large Buildings
165
166
Rough Sketch
//
\
".
...
'.\.
~
.
I
"
J_ '
168
nt
hrPP-nimensional World
~Flat World
Begin by sketching
"a box resting on
the ground. "
'
Rough Sketch
'f
~----~\c___j Characters
Width Line
Use Modified Two-Point Perspective to Portray "In Midair, High above the Ground"
171
"I
-y
'
172
"-
Slightly exaggerate
the angle of the height :
lines of those objects :
l
close to the picture
plane. This creates a
"wide-angle lens"
effoct
-~-
-~1 C
lu~~
,~ I
Room Layout
Use Three-Point Perspective and High Angle Compositions to Make a Room Appear Expansive
173
Rendering figures'
shoulders, hips. and feet in
perspective is a visually
effective technique.
Hips
Feet
~-~--=-'
I
I'
I
Draw the bench as a simple box and
sketch the figure as a nude while adding
some sense of foreshortening.
"''''to''"
Add
the
figure a sense of volume.
\~~,
~
- - - - - - -Horizon Line
174
(3) Draw the setting accurately in perspective and add the bench, the house in the background, and
other elements.
I
'
: ..
- --
----...:,
- ---- ~
~-.._
_,dl'
/
' .........
-.
Final Composition
.~
r-:
.....
175
~--4'T
(fftJ~.
'
C2) Render the chaise lounge and the character as simple solid objects. This
constitutes the composition 's layout.
Horizon Line
---I
j-
176
. ..
"
=iTF
I
177
~ Sketch
Background Sketch
r.
(""
7111
~~~
background setting.
Using Boxes to Render the Gun
178
II,
~
!'
~~
/ Y
:..., A
.\ 1 ',
\
/I
1,
~\
'
\\\
'~.
179
180
G) Final Composition
'
. . .. . . . . . . .. . . . . . . . .. .. . . . . . . . . . . . . .. .
(Seated on a Comfortable Chair ) Three-Point Perspective
\
/
Afp?'/
@ Final Composition
181
182
Adding More Characters and Drawing the Setting
I:).
1 '
I; I
1
;
~-~~
(2) Draw the character's face, the background, and the props in detail.
'
J..J'
/ ~
/'
'
~~
<3) Final Composition
183
D
Using masking tape, affix
the photo to the flip side of
a sheet of drawing paper or
photocopy paper.
Target Photo
..
184
....,..\...
..
,.
185
186
Subtle distortions in camera lenses can show up quite noticeably in photos. This
page covers how to establish the perspective and adjust such distorted lines as
you trace a photo.
Target Photo
Use the street's depth lines to establish
where to position the vanishing point and
horizon line.
~~It( ~
'l
_/
~=--
J.,)
/
---~
'
1:J
---------
187
Final Composition: The billboard stood out, so the artist turned it into an ad for suntan lotion.
188
Toward
Vanishing
Point A
Toward Vanishing
Point B
A
Toward
Vanishing
Point C
~ -------
..,
~ ~ ';
How the Drawing Would Appear If the Photo Were Traced without Alteration
The above shows the photo traced without alteration. The buildings lean
in various directions, and the overall composition is distorted.
wrtL
The above shows a carefully traced faithful version of the photo. Something about it does not feel right.
189
Methods for Creating the Illusion of Depth without Using OnePoint, Two-Point, or Three-Point Perspective Techniques
Using Heavy and Thin Lines: Modulating Line Thickness to Create Depth
DO
This is a technique
used in manga.
_)J.o-
----'1.--->._--'-- - - -_._-____.J
D
(t -
This is another
technique used in
manga.
_)J.o-
L_____.--.J..._._:__
___:,...~-~___L-__L.___ _ _ _...L__
__j
Background characters
are made to appear
faded.
OJ
L__:::___.-r::..:L----'-'~___:,,.__.J.____!L._l..__ __3._ _ _ __ _ j
190
The background's
lines t ouch the
cha racters, making
them appear
"buried" in the
background.
191
Lens Effects
Concave Lens
Convex Lens
Aspheric Lens
192
/
-
193
Naomi Toya
Drawing Lines That Evoke a
Sense of Volume
These next pages present the work of students from the Manga and
Animation Department of Nippon Engineering College, who assisted
in the production of this book.
While hair and the flesh are both soft, they are soft
in different ways. If you become meticulous about
Using Simple Lines to
conveying this difference, then the lines you use will
Generate a Sense of Volume become more sophisticated, and you will achieve
characters that are full of life.
Kou Kizaki
_j
The artist needs to have a sense of responsibility toward
"presenting something to the viewer" and an earnest
Devising Compositions That
awareness toward "communicating through pictures."
Dramatize the Characters
These help the artist create compositions that make the
viewer conscious of the character design.
Karasu Tsukishiro
194
Kanata
Yu Shinozaki
Using Study Sketches to
Cultivate Character Variation
Kyoya Uzuki
The Pursuit of Fine Lines Leads to
a Host of Textures
Natsume Hikaruga
Izumi Yukino
Having a Character Look at
the Viewer Is a Sure-Fire Way
of Creating an Impression
195
Rima Ayatsuki
Vagi Sogawa
Balance
Shu
Achieving a Sense of Volume through Portraying
Muscles as Three-Dimensional "Lumps"
A sense of strength emerges from the wings, which contain
lines that heighten the muscles' sense of volume and display
an exaggerated thickness.
Sakaki
Yuki Noguchi
Maintaining a Strong Concern towards Silhouettes and
Details Leads to Compositions with Impact
Modulating your use of contrasting strokes (i.e. whether to
add detailed, fine lines or not) constitutes a powerful
weapon in creating unique compositions.
196
Miharu Kawa.ra
There Is Nothing More
Powerful Than a Charming
Smile
Niwatori
Artwork That Displays Awareness
of Composition and Movement
Yields Memorable Characters
Junko Takahashi
Being Fastidious When Sketching
Creates Appealing and
Individualistic Compositions
Tomohiro Ushio
Artwork That Reflects Unique Ideas
Speaks to the Artist's Personal
Interests and Artistic Experience
: j'
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Caution!
I
The above shows grid paper,
which is drawing paper that
has vertical and horizontal
lines. The grid makes it easy
to trim panels and
compositions and to capture
desired forms.
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Afterword
"I have trouble drawing backgrounds." "Settings are a pain. " "I don't know how to draw settings." "I can't
draw backgrounds properly."
These are all standard comments I hear when manga artists get together.
When we hear the words, "setting" or "background," we automatically get the urge to circumvent them.
However, adding even a modest suggestion of a setting remarkably elevates the composition 's sense of
presence and makes it surprisingly convincing.
Yet, what can an artist do to become able to draw something akin to a setting successfully? The first step is
to change conventional thinking and conceive of the character and the setting as a single entity. The
character and the setting are inseparable. When drawing a character, he or she is always positioned within a
"location." This "location " has air. It is a space. It has a sky. It has a ground.
We, humans devised the rules of perspective as a means to allow us to portray a three-dimensional world
using a two-dimensional medium. The rules of perspective first appeared in the field of Painting Now, they
primarily pertain to the fields of Architecture and Drafting. If we follow the rules of perspective as used in
Architecture and Drafting, then it is almost as if "vertical " and "horizontal" would be absolute terms,
because we would have to draw as accurately as possible. And, in fact, there are people who know how to
follow these exacting rules.
However, needless to say, manga and book and magazine illustration are not drafting. Without doubt, a
certain degree of accuracy is needed when drawing parallel lines and "straight" vertical lines. But, perhaps
the vanishing point might be slightly off, the horizon might be curved, or "vertical " lines might lie at a slight
tilt. This is how we work in our field .
Techniques for drawing perspective commonly used 1in manga, illustration, and ani me are actually
techniques of manga sketching and perspective that developed as artists used knowledge from drafting
(specifically the rules of perspective) while seeking means of having characters they designed themselves
inhabit and engage in action within a composition and conveying this information to a reader.
This publication is a compilation attempting to answer as much as possible the question, "How do I draw
this?" After reading this book, you may find yourself becoming aware of floor and wall lines you never
noticed previously, and the space portrayed in your compositions will begin to expand.
It is my sincerest hope that the reader finds this book even slightly helpful toward creating compositions
that appeal to a larger audience.
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