Welcome to this first lesson of module 2 and in this lesson we're going to be taking a look at elements
stylistic elements of that head shape forming a style and starting run off the bat we're actually going
to compay a manga style head to more of a Western style head or heads that are based on idealistic proportions
where you sort of realistic skull top on the left I'm going to do the Western style head and on the
right I'll do the manga style head and I'll talk through what is actually different about these two
as we go through it.
So to put down a scene to learn here in our Western style head and just follow the conter of that sphere
and I'm going to start implying with this little ridge These are three quarter views by the way start
in playing with that little ridge.
The eye socket moved down into the cheek and start defining my chin and my jaw area and then I'm going
to pull that up.
I can draw in my ear shape here and get the rest of my head well keep things rough and loose.
And because I've defined the year that helps me already define at the top of my eyebrows and the bottom
of my nose you can see already that this is significantly different from how we measure out our manga
style moving into the manga illustration here it's just need in circle up a little bit.
I'm going to come down with more of a flat line and I'm going to drop my cheek very low and come into
the chin and then bring up that shape again.
I almost have a cheap black line again and then come back into my head and you just modify that angle.
Right.
And we know based on the proportions that half of our vertical hante defines our on line.
All right.
Let's go back to the Western style head and I'm going to draw in some eyes it's is keep it sort of a
Western style cartoony design put in our eyes here drawing a nose
and mouth
and it's get some eyebrows in here.
And draw in a bit of a neck and you can really see that the proportions of the Western style drawing
are significantly different to manga style and number of ways to get back to a manga sells we're in
here and we're going to market our food will draw in our eyes here just indications in our nose and
mouth
drawing.
Nick
and we can indicate our near here get a three quarter view going and then our eyebrows.
We won't go into too much detail drawing the faces we're really focusing on our head to design here.
And when you look at Western style in our manga style and I just use Western as a contemporary term
probably change in the future but really it's just a style that's based off of the normal human skeleton.
You can see we have massive proportional differences but something critical and key that I want to point
out here is how we handle the far side of the face in the three quarters.
And in a normal or realistic based style which is based on the normal human skull we tend to indicate
there's a brown indentation going into the socket indentation and then coming around to a high cheekbone
but conversely a stylistic trait of man and you'll see this in a lot of manga and anime illustrations
is that the fossil of face and a three quarter view and three quarter rotation.
Right.
So we rotated the head just slightly threequarters to the left or to the right.
In this instance it's to the right of the characters we have a very sort of flat long line not too much
emphasis.
And we don't really draw in this brown line area and we had a very low cheek.
Now whether it's a male character or a female character you will notice this is a common trained can
see that the cheek cuts differ significantly here and this is a key key thing to remember when you're
drawing mega-hits of course takes on the Mengistu proportions.
But you want to draw that very low cheek.
And in fact on the nearside of the sun that faces us in a three quarter view what we tend to see is
an angle that almost looks like a mirror of the cheeks angle on the nearside of the face.
Now this could be the jaw line.
It could be a treat line even though technically the cheek glands probably a little bit higher up.
This is often unclear can be quite clear.
And the reason for this is that Mangga heads themselves are really the most iconic graphic part of the
style.
Of course we do have the body proportions and the hand proportions and take into account but the manga
itself is really about expressing very clearly showing the character's feelings and expressions very
clearly.
And so it's not really based on a realistic head per se but rather it's a symbolic abstraction of a
realistic head.
And so it's largely symbolic and you'll see this play out in how the nose is drawn and how the eyes
are drawn and how we approach the eyes and so on and so forth.
Now if we take a look at a normalized sort of sculled drawing and I'm just going to do a quick rough
version you'll see that in normal human skull tends to have the cheekbones kind of fanning out in a
wing sort of fashion.
It's going to kind of do a very quick version of a human skull here.
It's probably a little bit stylized at the end of the world's drawing that lower jaw the teeth would
be around here.
The main important factor that I want to point out over here is really this section here of the normal
type of skull where we kind of have indentation coming around the wing of the high cheek bone which
then kind of curls in and then we go into the sort of half cylinder shape of the front of the mouth.
It's pretty critical but a Mangus skull would look significantly different.
And Mangga skull would have a much bigger cranium area and it would have a much lower wing if you will
or cheek bone.
So the Mango's skull would be something like this significantly larger eye sockets for one thing and
a very low down cheek bone structure something like this.
And I know it's crazy to think wow would Mangere really have a different skeletal structure.
And technically if we were to draw Mangga skull it would because it follows a completely different proportional
ruleset to the normal head structure.
Right.
So the key thing here is to remember that we want to keep our bone structure really our cheekbone really
low on our Mangga Stults faces compared to a Western style where we're really in for sizing this overall
shape on a three quarter view on the far side.
Also don't forget that sometimes this angle can replicate on the new side of the manga face in terms
of that lower cheek angle that low cheek bone and right now in addition to this.
Let's take a look at how we can manipulate the shape of the head with the jaw section in the chin section
and achieve different looks.
So we're going to do is I'm going to just draw a very base line here here for us to work on
and duplicate this across a few times.
And when you think you are feminine and the masculine lines that we've learned in the previous module
we can start applying some of that theory here to get a very different look to our kids.
So for example of this we're going to be a female character who could ring a nice low cheek that keep
the angle really round a pointy chin come back another round cheek and go up to the wrist of the head
what we can do is if we want a young boy character we can bring that same land down.
Keep things still a bit round but maybe give this character a little bit more of a chin this time keeping
things soft and round these young low cheek and back up to the head.
Let's take the character to be more of a masculine line level but we're going to do is we're going to
do our cheek.
We're going to be much more harsh with that angle and we're going to be a little bit broader and harsher
the angles of the chin still keeping the lower cheek design and another harsh angle up if we want to
go even older we can increase the width of that chin line even more.
To give us much more of a masculine look and a much more angled jawline and in addition to this the
mescaline is in inlands we can also really utilize the power of the neck thickness to imply the age
of the character or the strength of the character.
Small weak characters tend to have the next big burly bulky characters tend to have thicker thicker
next feminine characters tend to have Sinonyx masculine characters tend to have thicker necks.
So in this instance we can add in a thin neck here.
Not according to normal human anatomy in terms of a lot of the female characters it's just very much
a thin neck the neck typically in a real human anatomy connects underneath the ear but in manga it's
not necessarily the case.
The second one we can thicken the neck a little bit more.
Maybe it's a boy character or a young boy character.
The third Nick will take it to even thicker they steps as a teacher or an older character.
And then in the last one we can do a very thick neck and this can be our barely characters are really
big strong masculine characters I'm adding in a little bit of the sterna to mastheads there which is
really those muscles in your neck just to give us that feeling.
And so really in summer you can see how we use the feminine masculine lines here as well as some gentle
curves to give us different effects in terms of a manipulative.
The age of our manga characters.
Right.
So really just think about these works and practice them out do a few of these drawings and practice
them out.
And this lesson we've really sought to take a look at how we approach Jahid designs.
It's important to know the cranium doesn't really change much.
The cranium really stays a sphere and makes some drawings in what we can do is we can really use our
lines of them and Meskin lands in the shape of our jaws and action lines to define the gender or the
masculinity or femininity of our characters.
Going back to these initial illustrations really keep in mind the absolute difference in proportions
to westernized style or idealistic proportions which you can learn more about in character school complete
character drawing.
You want more character fundamentals.
And the difference between that and the manga style proportions which you can see are significantly
different.
Absolutely significantly different.
So really when you're drawing in a manga style you have to put your brain into a different gear and
really grab at it's proportional rules and the way Mangere is done also.
I mean ending.
Keep in mind the symbolic nature of manga style is really about simple easy to read expressions that
can appeal to young people very young people up to very old people where realism is secondary to understanding
the characters expression of their feelings and their emotions.
That is it for this lesson and I'll see you in the next lesson.