How to Draw Female Bodies Ch 5 Part 1

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1: Chapter 5
2: Drawing Faces
3: Skull - Face Parts - Hair - Mouth Structure - Design

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1: Differences Between Realistic and Stylistic Faces
2: Let’s take a look at how realistic faces differ from stylistic faces. The biggest factor would be the skull shape.
3: A character that takes a more realistic approach
4: Hair: The hair uses thinner lines that represent the flow of the hair and the individual threads.
5: Eyebrows: A collection of thin lines.
6: Eyes: The contours of the eyes are cleanly defined.
7: The pupils and irises are round.
8: Ears: The complex inner structure of the ear is drawn out.
9: Nose: The complete nose, including the fall/rise of the nose, the nostrils, and the bridge are drawn.
10: Lips: Both the upper lip and bottom lip have their shapes defined.
11: Neck: Thick.
12: Human Skeleton
13: Regions like the area around the eyes, the depression in the temporal region, and the cheekbones have more of a rough feeling. The lower jaw is thick as well as the neck bones.

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1: A character that takes a more anime/game style approach.
2: Hair: The outline of the hair is more pronounced, with the inner lines simplified and reduced.
3: The shininess of the hair makes it look rounder and more lively.
4: Eyebrows: Drawn with a simple design.
5: Eyes: Drawn larger with an emphasis on the eyelashes. The pupils are large and oval-shaped to make them stand out.
6: Ears: Lines are reduced to make it more simplified.
7: Nose: Only the tip of the nose is often drawn with most of the details omitted.
8: Mouth: The mouth is heavily simplified.
9: The shadow of the lower lip can bring out some cuteness in the mouth.
10: Neck: Slightly thinner.
11: Character Skull
12: The connection between the temporal region and the jaw is simplified with the cheekbones having a smoother shape. The eye cavities are large and drawn farther apart. The jaw is small.

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1: Let’s Draw Some Character Faces
2: (below 1) Take a Look at Some Examples
3: (right of 1) Figure out where to put the various parts of the face as you outline your sketch.
4: (below 3) The process of drawing by reference works the same way as drawing your own original character. Pay close attention to the size of the eyes and ears along with the things like hair volume as you draw while looking at these examples in order to improve your drawing capabilities.
5: Observe the positions of the facial features.
6: Try to copy the amount of hair(focus on the volume and how far the outline of the hair extends away from the outline of the skull), the flow of the hair, and the density of curved lines.
7: Example of completed character
8: Sketch before the completion
9: Outline of the head(skull)
10: These lines help figure out positioning for facial features like the eyes, nose, and mouth.

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1: Drawing Process
2: Drawing the Outline
3: Draw a circle(outline of the head/skull) with a cross mark(outline of the face) in it.
4: Draw the neck and a straight line to use as a guide for the shoulders.
5: Roughly draw out the shape of the torso as well if doing a bust shot.
6: The hair will float on top of the head, so draw some guidance lines for where the hair will be.
7: The center line of the face is slightly adjusted here. It now faces more to the outside.
8: Roughly draw out the thickness of the neck and width of the soldiers.
9: These are guidance lines for where the shoulders will connect. They help visualize the width of the torso.
10: Rough Sketch -> Completion
11: Use the example character as reference and draw out the linework for the head shape, face shape, hair outline, neck, and shoulders.
12: Get a feel for the eye placement, size, and shape, and draw in the nose and mouth as well.
13: Slowly start working on refining the shape of the face, neck, eyes, and nose while adding flow to the hair. Get a rough feel for how the hair parts as well as how wide the shoulders should be.
14: Start finalizing the lines for the eyebrows, hair outline, neck, and shoulders. Alternate between focusing on the individual features and the drawing as a whole.
15: Adjust the mouth, add some details and shading to the eyes and hair, and you’re done. Feel free to further adjust the lines or add more.

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1: The Purpose of the Cross Mark
2: (right of 1) The cross mark serves as guidance lines for determining where the face is facing along with the positioning of the eyes and nose.
3: (below 1) Front Angle
4: Vertical Line - This line goes directly down the middle
5: Horizontal Line - This determines how high up the eyes will be. If placed directly in the center, it can be used as a guide for ear placement as well.
6: (below 2) Center
7: (bottom right of 6) Center
8: (below 7) The eye placement is a bit lower than the center.
9: (below 8) The nose, mouth, and jaw are directly placed on the center line.
10: Facial Feature Balance
11: Use guidelines such as “the distance between both eyes is about the width of one eye” or “the size of the ears from the front is about the length from the top of the eyes down to the nose” as you figure out where to place facial features. This serves as a way to help you naturally attain a good sense of distance when drawing facial features.
12: Supplementary
13: The Difference Between the Center Line and Midline
14: “Midline” is often used as an anatomical term. It’s a line that quite literally goes down the center of the face. You might hear things like “shift your midline to avoid the attack” in martial arts and such. The “center line” term used in drawing refers to the line straight down the middle of what is seen, and it usually does in fact go straight down the middle in terms of the drawing. Unless an absolute front side is needed, this isn’t something you usually have to worry about.

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1: 45° Angle
2: Purpose of the Vertical Line
3: Establishes if facing left or right.
4: Facing left
5: Center
6: The center line is more towards the left.
7: Purpose of the Horizontal Line
8: Establishes if facing up or down.
9: Normal
10: Facing Down
11: Facing Up
12: Side Angle
13: Serves as guide for eye and ear positioning.
14: The ear comes out around here(center of side of head).

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1: Drawing Various Angles
2: (right of 1) Let’s take a look out how facial feature position and shape can change. On top of how the shape of the face changes, pay attention to how the eyes and ears change position and shape.
3: (below 1) Slightly Diagonal Angle
4: The temporal region can slightly be made out.
5: The distance between the corner of the eye and the sideburns.
6: 45° Angle
7: The width of the eye gets thinner the farther back it reaches.
8: Close to Side Angle
9: The side of the face and head gets wider.
10: This distance gets wider.

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1: Profile
2: Diagonal Back Angle (Eyes can be seen)
3: Nose can’t be seen.
4: The eye should be drawn as if it’s touching the outline of the face.
5: Diagonal Back Angle (Eyes can’t be seen)
6: (right of 5) Adjusting the profile angle to be more diagonal
7: The bridge of the nose can be made out.
8: (below 5) Draw the undulation of where the eyes are.
9: (right of 8) Reference: Back
10: (right of 9) Draw the roundness of the pupils.
11: Eyeball

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1: Drawing the Profile - Face Outline and Eye Positioning
2: Shape of Face
3: Realistic - Bumpy
4: Stylistic - Simple, clean
5: 3 Common Stylistic Types
6: Bumpy Type
7: Reflects the shape of the lips
8: Simple Type
9: The outline is simplified.
10: Hybrid Type
11: The upper lip has a more realistic outline.
12: Eye Size and Placement
13: (right of 12) You can adjust factors such as the distance from the brow and the shape.
14: Narrow
15: Normal Type
16: The eye placement(distance from the brow) is narrow and realistic. The eye is large vertically-wise. This is standard, but when looking forward, the eye is on the smaller side.
17: A little wide
18: Mysterious Type
19: The eye placement is a bit farther from the brow and the eye shape is longer horizontally. The eye shape is more slitted, giving off that more mysterious air.
20: Wide
21: Aloof Type
22: The eyes are quite far from the brow and are larger vertically-wise. Gives the character a more aloof and relaxed feel.

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1: Drawing Close to Side Angle Faces
2: A diagonal angle that causes the eye to be slightly hidden behind the bridge of the nose. A stronger sense of dimensionality is brought out this way, but it can be difficult to find a good balance between the positioning and size of the eyes. Try to figure out the balance via tracing and drawing by reference.
3: Diagonal Type
4: The face shape is close to that of a normal diagonally angled face.
5: Normal Diagonal Angle
6: Side Angle Type
7: The face shape is close to that of a side angle face.
8: Side Angle
9: Points to Take Note of
10: Have the center line clearly face towards the outside.
11: This will work for both types. For the side angle type, you’d move on to drawing the outline of the bridge of the nose before adding in eyes in the rough sketch.
12: The eye in the foreground should be farther away from the center line.

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1: Upwards and Downwards Angle
2: Upwards
3: Diagonally Upwardly Faced
4: The horizontal line used for positioning the eyes should curve upwards.
5: (below 4) The relation between the eyes and the nose is about the same as the “close to side angle” face.
6: (left of 5) The distance between the eyes and nose grows smaller(diagonal faces usually have the nose covering up part of the eye). Make the nose a little smaller.
7: The surface area of the upper head region should be smaller than the face region.
8: Small(Short)
9: Big(Long)
10: The surface area between the mouth and lower jaw gets wider.
11: In the case of a realistic face. The nostrils are drawn in.

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1: Downwards Angle
2: Diagonally Downwardly Faced. The surface area of the upper head gets larger.
3: Use a cross mark for the outline of the top of the head.
4: (below 3) The horizontal line used for positioning the eyes should curve downwards.
5: Big(Long)
6: Small(Short)
7: In the case of a realistic face.
8: (below 6) The crown of the head should have lines curving into it.
9: (below 4) The facial feature balance is about the same as the diagonal angle face. The face's vertical length is shortened a bit while the upper head is drawn to appear larger.
10: (below 7) The hair’s volume should be more pronounced.

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1: Facial Features
2: (below 1) Basic Facial Features and Their Names
3: (right of 1) Let’s take a look at the facial feature shapes and the mouth structure of realistic characters.
4: Facial features are often simplified in stylistic drawings, so there are many types of designs out there.
5: (below 2) Skeletal Features
6: (below 5) The mouth is at about between the upper and lower teeth.
7: (bottom right of 5) The eyebrows are above the eye cavities.
8: The ears jut out from the side of the face.
9: The region of the nose between the eyes rises up a bit.
10: (right of 5) Ear
11: (right of 10) The outline of the ear, the helix.
12: (below 10) Earlobe
13: (below 12) The visible ear as a whole is called the auricle.
14: (right of 13) From behind. It should be trumpet-shaped.
15: (below 6) Nose
16: Non-visible Nostril Type
17: Bridge of the Nose
18: Tip of the Nose
19: Wings of the Nose
20: Nostrils
21: Wings of the Nose
22: (bottom left of page) Visible Nostril Type
23: (right of 22) From Below
24: Tip of the Nose
25: Wings of the Nose
26: Septum
27: (below 14) Side Angle
28: (bottom left of 27) Drawing Ears and Nose From Below
29: If drawing from below, the nose should have a mountain shape.
30: The ears go slightly below the jaw.
31: Use shading to show where the ear connects to the head.

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1: Eye
2: Upper Eyelid 上まぶた
3: Pupil
4: Double-edged Eyelid
5: Eyelashes
6: Outer Corner of Eye
7: Conjunctiva 結膜（けつまく）
8: Outer Edge of Lower Eyelid
9: Iris
10: Lower Eyelid
11: Inner Corner of Eye
12: The eyelashes extend out radially.
13: (second section of page) Eyeball
14: Pupil
15: Iris
16: Conjunctiva. The white region.
17: Iris
18: Pupil
19: Eyeball shoved into a skull
20: X-ray of winking character
21: X-ray of eyeball behind skin
22: Eyeball shoved into a skull
23: The part of the eyeball exposed is part of a sphere, so it should be curved.
24: (third section of page) Mouth
25: Dips
26: Upper lip
27: (below 26) Corners of the mouth. The upper lip hangs over the bottom lip.
28: Bottom lip
29: Shadow of bottom lip
30: The corner of the bottom lip never goes beyond the upper lip(this can be done on purpose to give the character an alien look).
31: The bottom lip actually extends all the way down here, but it is often shortened to make the lips appear thinner.