View difference between Paste ID: 8ZRpKeA5 and LWbVT2sB

 PAGE 156:
 
 1: Mouth and Jaw Structure
-2: (right of 1) When it comes to drawing characters, eyes and mouths often get exaggerated so the overall skull structure often has very little thought put into it. Regardless, it is still important to understand the structure of the mouth when drawing teeth or the inside of a mouth.
+2: (right of 1) When it comes to drawing characters, eyes and mouths are often exaggerated, so the overall skull structure has very little thought put into it. Regardless, it is still important to understand the structure of the mouth when drawing teeth or the inside of a mouth.
 3: (below 1) Front
 4: Mouth opening up from smiling
 5: (arrow) Smile
 6: The face remains facing to the front.
 7: (bottom right of 6) X-Ray Diagram
 8: (below 7) The lower teeth and gums are omitted.
 9: (upper left of 8) The lower jaw moves down when the mouth opens.
 10: (below 9) The neck bone can be seen.
 11: (arrow) Smile
 12: (bottom left of page) Mouth opening wide
 13: (below 12) The face faces upwards a little.
 14: (right of 13) A portion of the lower jaw is hidden.
-15: (below 8) Facing upwards. The upper jaw is part of the skull, so it does not move.
+15: (below 8) Facing upwards: The upper jaw is part of the skull, so it does not move.
 16: The lower jaw opens up.
 17: The jaw joint
 18: The skull faces upwards due to the neck joint.
 19: Upper skull
 
 PAGE 157:
 
 1: Side Angle
 2: Realistic Type
 3: Jaw placement
 4: (arrow) Smile
-5: The jaw moves down in accordance with how much the mouth opens up(the face gets longer).
+5: The jaw moves down in accordance with how much the mouth opens up (the face gets longer).
 6: Upper skull
 7: Lower jaw
 8: (arrow) Smile
 9: Jaw joint
 10: Stylistic Type
 11: A type where character proportions are more deformed. The lower jaw outline often remains the same even when the mouth opens.
-12: The outline following down from the nose.
+12: The outline following down from the nose
 13: Skull X-Ray Diagram
 14: The outline remains the same even when the mouth opens.
 15: There isn’t much need to worry about the skull structure if you aren’t planning on drawing teeth.
 
 PAGE 158:
 
 1: 45° Angle
 2: Laughter
 3: (below 2) Skull X-Ray Diagram
 4: (below 3) If the face outline doesn’t change, then the skull structure stretches/shrinks.
-5: (left of 4) opens downwards.
+5: (left of 4) Opens downwards
 6: (top left of bottom box) Reference: Especially Deformed Skulls
-7: (right of 6) In the case of designing skulls for cute characters. Let’s take a look at the front teeth and jaw.
+7: (right of 6) In the case of designing skulls for cute characters: Let’s take a look at the front teeth and jaw.
 8: (below 7) When considering a skull for a cute character, the lower jaw and teeth often ends up getting really small. But when these characters get struck by lightning or turned into zombies or something, you’d still see normal skulls shown.
 Here I drew skulls based on where the teeth can be seen. The front teeth ended up looking very squirrel-like.
 9: (left of 8) Closed mouth
 10: (left of 9) Open mouth
 11: (bottom left of page) Reference: Character Skull
 12: Here the goal is to prioritize cuteness rather than realistic facial structure.
 13: Skull X-Ray Diagram
 
 PAGE 159:
 
 1: Column
 2: About Teeth
 3: Closed mouth
 4: Teeth X-Ray Diagram
-5: (below 3) The molars start here, from the 5th tooth and onwards.
+5: (below 3) The molars start here, from the 5th tooth onwards.
 6: (right of 5) Canine
 7: (below 6) Incisor
-8: (below 5) It is mirrored left and right.
+8: (below 5) It is mirrored to the left and the right.
-9: (right of 8) An example of teeth displayed when smiling.
+9: (right of 8) An example of teeth displayed while smiling
 10: (right of 9) To be more precise, the lower teeth are on the smaller side.
 11: (right of 10) The canines have sharp points like fangs.
-12: (above 11) The upper teeth. There are only 8 different types.
+12: (above 11) The upper teeth: There are only 8 different types.
 13: (bottom left of 9) When drawing both lips and teeth
 14: (below 13) The lower teeth are covered by the lower lip.
 15: (right of 13) Front Smile
 16: (below 15) Wisdom Tooth
 17: (right of 16) The teeth in both the upper and lower jaw are aligned in curves.
 18: (bottom left of page) Teeth Representation
 19: Omitting both lips and teeth
-20: Emphasizing the canines. The canine position is closer to where the incisors would be.
+20: Emphasizing the canines: The canine position is closer to where the incisors would be.
-21: A common fang representation. It’s often drawn farther towards the side than the canine.
+21: A common fang representation: It’s often drawn farther towards the side than the canine.
 
 PAGE 160:
 
 1: Drawing Hair
 2: (right of 1) Hair is one of the most important elements of a character, as it often brings out a character’s characteristics and helps differentiate between characters. Let’s take a look at drawing various hairstyles using the roundness of the head as the foundation.
 
-Drawing hair uses the roundness of the skull as a foundation. (yes i know it says the same thing but the original text legit repeats itself)
+Drawing hair uses the roundness of the skull as a foundation.
 
 3: (below 1) The Relationship Between the Head and the Hair
 4: Skull
 5: Wig
-7: The amount of hair can make the head appear to be bigger
+
 7: The amount of hair can make the head appear larger.
 8: The distance between the hair outline and the head outline is small.
 9: The distance between the hair outline and the head outline is large.
 10: Both heads are about the same size.
 11: Not much hair
 The entire head shape is about the same size as the actual head.
 12: Lots of hair
 The entire head shape is a lot bigger than the actual head.
 13: Hair Volume Magic
 14: Both stand at 7 heads tall
 15: Circles that include the height added from the hair.
 16: Even though both characters are 7 heads tall, the one with more hair looks like they have a bigger head, causing the other character to look shorter.
 17: Guidelines
-19: (arrow) Visualization of amount of hair
+
 19: (arrow) Visualization of the amount of hair
-21: (bottom right of page) Draw the hair using a visualization in respect to the head’s outline as a guide.
+
 21: (bottom right of page) Draw the hair using a visualization wuth respect to the head’s outline as a guide.
 
 PAGE 161:
 
 1: Drawing Tips
 2: (right of 1) Curved lines are especially important when it comes to hair.
 3: Distinctive Silhouettes
-5: Head shape. Silhouette is round.
+
 5: Head shape: Silhouette is round.
 6: Twintails Type
 7: Ponytail Type
 8: Princess Type
 9: Curly Type
 10: Draw Hair With Curved Lines
-12: Use smooth curved lines to draw simple straight hair.
+
 12: Use smooth curved lines to draw simple, straight hair.
 13: Round-headed short hair
 14: Messy short hair
-16: Roundness of head is pronounced in this area
+
-17: This region is where hair becomes more liberal
+16: The roundness of the head is pronounced in this area.
-18: (right of 16) Hair drops planarly to the side of the head.
+17: This region is where hair becomes more liberal.
-19: (right of 18) Hair drops straight down.
+18: (right of 16) Hair drops planarly to the side of the head
 19: (right of 18) Hair drops straight down
 20: (right of 19) In the case of hair stretching out the sides
 21: (below 18) Crown of head
-23: The hair whorl is usually at the center(the place where the hair flows out from), and the hair then spreads out in four directions from that area.
+
 23: The hair whorl is usually at the center (the place where the hair flows out from), and the hair then spreads out in four directions from that area.
 
 PAGE 162:
 
-2: Let’s take a look at the hairline at the forehead, back of the head, and around the ears when the hair’s standing up, flowing, or neatly combed back.
+
-3:  (below 2) When drawing bundles of hair that are curving in a different direction, they should look like they’re waving in the air.
+2: Let’s take a look at the hairline on the forehead, back of the head, and around the ears when the hair is standing up, flowing, or neatly combed back.
 3:  (below 2) When drawing bundles of hair that are curving in different directions, they should look like they’re waving in the air.
-5: (below 4) Simplified version of the hairline. It’s fine to have it made up of ragged lines.
+
 5: (below 4) Simplified version of the hairline: It’s fine to have it made up of ragged lines.
 6: (bottom left of 3) Flowing Hair
 7: Both the hairline along the forehead and the side of the face is shown.
 8: (below 7) In the case of the hair falling back down (messy)
-10: (below 5) The hairline around the ears and the back of the head. It curves around the ear.
+
-11: (bottom left of page) Before the hair stood up
+10: (below 5) The hairline around the ears and the back of the head: It curves around the ear.
 11: (bottom left of page) Before the hair stands up
 12: Hair Standing Up
 13: The hairline at the back of the head and around the ears is shown.
 14: (bottom right of page) The hairline at the back of the head is about where the neck connects to the head.
 
 PAGE 163:
 
 1: Drawing Hairstyles
 2: (right of 1) The outline of the hair is primarily based on the round outline of the head. Let’s learn how to draw various hairstyles while focusing on short hair and tied-up hair.
 3: (below 1) Typical Hair Representations
 4: (below 3) Deformed / Simple Type
 5: Hair that has defined outlines
 6: Outline Type
 7: The silhouette is simplified. Elements like the hair curling up and the bangs are drawn as separate parts.
 8: Darkened + Halo Type
-10: White ellipse shape.
+
 10: White ellipse shape
 11: Angel Halo
 12: Realistic Type
 13: This type of hair is drawn with flowing tufts of hair. Try to draw it with the idea of hair overlapping each other. After drawing the lower tufts, draw more tufts on top of them.
-15: This hair is drawn very neatly and carefully with the idea of every individual strand of hair being represented. The lines shouldn’t all be at the same width from each other. Some should be closer to each other, some should be farther from each other.
+
 15: This hair is drawn very neatly and carefully with the idea of every individual strand of hair being represented. The lines shouldn’t all be the same width from each other. Some should be closer to each other, some should be farther from each other.
 
 PAGE 164:
 
-2: (right of 1) We’ll focus on the idea of a bundle of hair connected to the roundness of the head. By adding volume to various areas such as where the hair is fastened together, a variety of different silhouettes can be achieved.
+
 2: (right of 1) We’ll focus on the idea of a bundle of hair being connected to the roundness of the head. By adding volume to various areas such as where the hair is fastened together, a variety of different silhouettes can be achieved.
-4: (right of 3) This signature trait of this hairstyle is the large tail created from the hair being tied at one point. Can be used to give the characters an energetic, intellectual, or mature feel.
+
 4: (right of 3) The signature trait of this hairstyle is the large tail created from the hair being tied together at one point. It can be used to give the characters an energetic, intellectual, or mature feel.
 5: (right of 4) This line travels across the outline of the skull. There isn’t much volume.
 6: (below 4) Tail
 7: (bottom right of 6) Crown
 8: (below 7) The image is made up of hairs travelling across the curved surface of the head.
-10: (left of 9) Fastener. The hair all focuses towards this area before reaching the tail.
+
-11: (below 10) Draw the tail with the image of the hair spreading out from the fastener.
+10: (left of 9) Fastener: The hair all focuses towards this area before reaching the tail.
 11: (below 10) Draw the tail with an image of the hair spreading out from the fastener.
 12: (below 9) The hair flows across the curved surface of the back of the head.
-14: (bottom left of page) If the hair is especially thick.
+
-15: (right of 14) If the hair is thin.
+14: (bottom left of page) If the hair is especially thick
 15: (right of 14) If the hair is thin
 
 PAGE 165:
 
 1: Twintail
 2: The signature trait is the hair being tied together at two points. It’s often used to give characters an energetic or cute feel.
 3: (below 2) The tails start at the same height.
 4: (below 3) Wave Type
 5: (left of 4) The tails are equally long as well.
 6: (right of 3) Center
 7: (right of 6) The hair spreads out from the center, heading towards where the hair is tied together.
 8: (below 7) Center
 9: (below 8) Center
 10: (left of 9) Crown
-12: Higher than the eyes, like horns.
+
 12: Higher than the eyes, like horns
-14: (below 12) The type where the parting slides cleanly down the middle
+
-15: (right of 14) The type where the parting makes a zig-zag shape.
+14: (below 12) This is a type where the parting slides cleanly down the middle.
-16: (right of 16) One side only, a deviation of the ponytail style.
+15: (right of 14) This is a type where the parting makes a zig-zag shape.
 16: (right of 16) One side only, this is a deviation of the ponytail style.
 17: (above 16) Sometimes hair attachments are used to create styles like these as well.
 18: (below 14) When below the ears, it’s called “pigtails”.
 19: (below 18) Earlobe
 20: (below 19) About at the chin
-22: (bottom left of page) There are all kinds of combinations you can make with traits such as the type of hair(wavy, straight), length, fastener positions, fastener accessories(large or small ribbon) and so on.
+
 22: (bottom left of page) There are all kinds of combinations you can make with traits such as the type of hair (wavy, straight), length, fastener positions, fastener accessories (large or small ribbon), and so on.
-24: (below 23) A sleek curved line from the front and jagged when it comes to the sideburns.
+
 24: (below 23) A sleek curved line from the front, and jagged when it comes to the sideburns.
 25: A simple half-ellipse-shaped hairline all around.
 
 PAGE 166:
 
 
 1: Realistic Character Designs
 2: (right of 1) Let’s capture the flow and volume of the hair.
 3: (below 1) Flowing Hair
 4: (right of 3) Elegant hair depicted through the use of supple lines
-6: (right of 5) The hair whorl at the crown. It’s like the belly button of the hair, so the volume of the hair should swirl out from here.
+
 6: (right of 5) The hair whorl at the crown: It’s like the belly button of the hair, so the volume of the hair should swirl out from here.
 7: (below 6) Omit some lines here so you can depict the shine of the hair.
 8: The areas without hair lines should form a jagged shape.
 9: The hair should form outlines of large blocks flowing down.
-11: Characterized by large flowing outlines.
+
 11: Characterized by large flowing outlines
 12: You can add some small strokes in for the “halo” shine effect.
 13: By shading this area in, you can give the idea that there’s empty space there. It helps give the hair volume and a fluffy feel to it.
 14: Use more lines when drawing the ends of the hair. It gives the hair more presence.
 
 PAGE 167:
 
 1: Tied-Up Hair
 2: Hair that has a more gorgeous impression.
 3: (below 1) Realistic Type
 4: (right of 2) Bangs Section
 5: (right of 4) Volume Section
 6: (below 5) The hair is tied up into a loose round dumpling shape.
 7: (bottom left of 6) Area of the bangs
 8: Area where the hair gets tied up
 9: Fastener
 10: (below 3) The tips of the hair are wavy. Use wavy lines.
 11: (bottom left of 9) Realistic Type
 12: (right of 11) Stylistic Type
 13: (below 12) You’ll want to show volume, so make the lines loosed and spaced out.
 14: (below 13) The hair is closer to the scalp here, so the lines should be more bunched up. It emphasizes the fact that the hair is tied up.
 15: (below 10) Stylistic Type
 16: (bottom right of 15) Use some shading here to bring out dimensionality.
 17: (bottom left of page) Use spaced out lines for loose hair and bunched up lines for tight hair.
 
 PAGE 168:
 
 1: Let’s Draw a Variety of Different Faces
 2: (below 1) Drawings That Focus on Eyes and Hair
 3: (right of 2) Let’s experiment with eye size, eye shape, and hairstyles.
 4: Big Eyes and Small Eyes
 5: Small Eyes
 6: The pupils are small as well.
 7: Big Eyes
 8: The pupils are big as well.
 9: (below 6) Guidelines
 10: (below 9) Lots of volume
 11: (below 10) The scrunched up shoulders and clavicle emphasizes her bust. (Thick neck)
 12: (left of 11) They both use the same starting sketch with a tilted head.
 13: (right of 9) Difference in silhouette
 14: (right of 13) Less volume
 15: (below 14) The sloped shoulders give them a more sleek silhouette. (Thin neck)
 16: (below 12) Eyes That Reflect Personality
 17: (right of 16) Eyelids, eye shine, and pupil size can all add a lot of individuality.
 18: Bright Eyes
 19: Unease/Surprise
 20: Glare
 
 PAGE 169:
-1: Normal Eyes, Droop Eyes, Sharp Eyes
+
-2: Eyes typically fall in three different categories. Even characters with the same hair can look very different depending on what eyes they have.
+1: Normal Eyes, Droopy Eyes, Sharp Eyes
 2: Eyes typically fall into three different categories. Even characters with the same hair can look very different depending on what eyes they have.
 3: Normal Eyes
 4: Sharp Eyes
-6: The corners of the eyes are the most important part
+
 6: The corners of the eyes are the most important part.
 7: These eyes are differentiated by their corners.
 8: Normal Eyes
 9: Sharp Eyes
 10: Droopy Eyes
-12: It’s effective to have the eyes dip downwards for the sharp eyes
+
 12: It’s effective to have the eyes dip downwards for the sharp eyes.
-14: We use these guidance lines as a base for the face. You can add another horizontal line for the sake of establishing the corner of the eyes, too.
+
 14: We use these guidance lines as a base for the face. You can add another horizontal line for the sake of establishing the corner of the eyes too.
-16: Normal Eyes - Average straightforward style. Hairstyle is rather simple with no special eccentricities.
+
-17: Sharp Eyes - Strong-spirited and outgoing. The spiky hair shows how energetic she is.
+16: Normal Eyes - Average straightforward style: Hairstyle is rather simple with no special eccentricities.
-18: Droopy Eyes - Timid and introverted. Her straight bobbed hair covers her eyebrows.
+17: Sharp Eyes - Strong-spirited and outgoing: The spiky hair shows how energetic she is.
 18: Droopy Eyes - Timid and introverted: Her straight bobbed hair covers her eyebrows.
 
 PAGE 170:
 
-2: No matter what the character, it is important to design their eyes and hairstyle with their personality in mind.
+
 2: No matter the character, it is important to design their eyes and hairstyle with their personality in mind.
 3: (below 2) Lots of hair volume is added. The large head gives her a childish and kind atmosphere.
-5: Her droopy eyes, tied-up hair(braids), and round head silhouette give her a calm and kind impression.
+
 5: Her droopy eyes, tied-up hai r(braids), and round head silhouette give her a calm and kind impression.
-7: Her dishevelled hairs shows her free-spiritedness and her exposed forehead represents her liveliness.
+
 7: Her dishevelled hair shows her free-spiritedness and her exposed forehead represents her liveliness.
-8: (below 7) A downwards angle can pronounce the shoulders. This can be used to either give the character a relaxed or free-spirited impression.
+
-9: (below 8) Both shoulders raised and tilted in an upwards angle can give the impression of a cheery character.
+8: (below 7) A downwards angle can make the shoulders more pronounced. This can be used to either give the character a relaxed or free-spirited impression.
-10: (bottom left of page) The wide eyes, open mouth, and curled hair give her a cheery energetic impression. The large eyes and shine effect help bring out that impression as well.
+9: (below 8) Having both shoulders raised and tilted at an upwards angle can give the impression of a cheery character.
 10: (bottom left of page) The wide eyes, open mouth, and curled hair give her a cheery, energetic impression. The large eyes and shine effect help bring out that impression as well.
 11: (above 10) Bright and Energetic Character
 
 PAGE 171:
 
 1: (top right of page) With a diagonal downwards-turned face, it’s easier to express intent and emotions through the use of eyes.
 2: Strong-Spirited One-of-a-Kind Character
 3: Her sharp eyes, pointy ponytail, and wild bangs all add to her strong-spiritedness and liveliness.
-5: Her long eyelashes, drooped eyelids, small mouth, and her hair covering her eyes all add to her sleek and delicate image. Her tied-up hair is somewhat loose and messy, showing that she’s somewhat lazy and not as preoccupied with her image.
+
 5: Her long eyelashes, drooped eyelids, small mouth, and hair covering her eyes all add to her sleek and delicate image. Her tied-up hair is somewhat loose and messy, showing that she’s somewhat lazy and not as preoccupied with her image.
 6: (below 5) When it comes to a downwards-turned face from the front angle, you can give the character a nice and strong gaze through the use of the whites in an upturned gaze.
 7: Silent and Mysterious Character
 8: The eyes can look more mysterious by not adding in any shine. The straight long hair adds even more to that, and the swept bangs show that she’s not “just silent”. The bangs sweeping towards the center of her face between her eyebrows gives her a bit of individuality as well.
 9: Optimistic Glasses Girl
 10: Her hair parted to the sides gives her a serious and well-kept impression. Her large exposed forehead reflects her outgoingness and optimistic outlook. The bangs that lightly cover her eyes adds to her individuality and enforces her traits.
 
 PAGE 172:
 
-2: (right of 1) We’ll be drawing characters with differing distances between the bottom eyelids and the mouth. This can be used to differentiate age, but it can also be used to make people of the same age not look that way.
+
 2: (right of 1) We’ll be drawing characters with differing distances between the bottom eyelids and the mouth. This can be used to differentiate age, but it can also be used to make people of the same age not look alike.
 3: (below 1) Applying Balance 1
-5: Typical character. The bridge of the nose is not very pronounced.
+
-6: Older character, big sister type. Smaller eyes, around half the size of the normal character’s. The bridge of the nose adds a more mature feeling to the character.
+5: Typical character: The bridge of the nose is not very pronounced.
-7: Child/little sister type. The eyes are about 3 times the size of the older character’s. The nose is just a little dot.
+6: Older character, big sister type: Smaller eyes, around half the size of the normal character’s. The bridge of the nose adds a more mature feeling to the character.
 7: Child/little sister type: The eyes are about 3 times the size of the older character’s. The nose is just a little dot.
-9: Take note of the distance between the lower eyelids and the mouth
+
-10: (right of 9) The ears are always about at the height of the eyes no matter the type
+9: Take note of the distance between the lower eyelids and the mouth.
 10: (right of 9) The ears are always at about the height of the eyes no matter the type.
 11: (below 9) Medium
 12: (below 11) The chin positions are all the same.
 13: (below 12) Normal Character
 14: There’s some distance between the nose and mouth.
-16: The distance between the eyes and mouth is rather large. The neck is thicker as well with the idea that the shoulders are longer.
+
 16: The distance between the eyes and mouth is rather large. The neck is thicker as well, with the idea that the shoulders are longer.
 17: Child/Little Sister Type
 18: The distance between eyes and mouth is short.
 19: (right of 11) Long
 20: (right of 19) Short
-22: Take note of the distance between the lower eyelids and the tip of the nose
+
 22: Take note of the distance between the lower eyelids and the tip of the nose.
 23: Tip of the nose position
 
 PAGE 173:
-1: Differences in distance between lower eyelids and nose. Try to determine this distance for each character you design. The nose placement can be a defining factor when it comes to open-mouthed faces or diagonally-facing faces.
+
 1: Differences in distance between lower eyelids and nose: Try to determine this distance for each character you design. The nose placement can be a defining factor when it comes to open-mouthed faces or diagonally-facing faces.
 2: Normal Character
 3: Adult/Big Sister Character
 4: Child/Little Sister Character
 
 PAGE 174:
 
 1: Column
-3: Draw the Hairstyle in 4 Different Angles
+
-4: When drawing the same character over and over again, you will often have to draw them from different angles. Normally you’d just do three different angles consisting of front, side, and back, but for characters you’d want front, side, 45°, as well as back, for a total of four angles.
+3: Draw the Hairstyle at 4 Different Angles
 4: When drawing the same character over and over again, you will often have to draw them from different angles. Normally you’d just do three different angles consisting of the front, side, and back. However, for a character's hair you’d want front, side, 45°, as well as back, for a total of four angles.
 5: Front
 6: 45°
 7: Side
-9: Make sure that the parting of the hair, flow, and distance to the skull(volume) all remain the same.
+
 9: Make sure that the parting of the hair, flow, and distance to the skull (volume) all remain the same.