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 PAGE 141:
 
 1: Chapter 5
 2: Drawing Faces
 3: Skull - Face Parts - Hair - Mouth Structure - Design
 
 PAGE 142:
 
 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.
+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.
 
 PAGE 143:
 
-1: A character that takes a more anime/game style approach.
+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.
 
 PAGE 144:
 
 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.
+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.
+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 the 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.
 
 PAGE 145:
 
 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.
+3: Draw a circle (outline of the head/skull) with a cross mark (outline of the face) on 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.
+5: If doing a bust shot, roughly draw out the shape of the torso as well.
 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.
+7: The center line of the face is slightly adjusted here. Now it 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.
+12: Get a feel for the eye placement, size, 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.
 
 PAGE 146:
 
 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
+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.
 
 PAGE 147:
 
 1: 45° Angle
 2: Purpose of the Vertical Line
-3: Establishes if facing left or right.
+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.
+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.
+13: It serves as a guide for eye and ear positioning.
-14: The ear comes out around here(center of side of head).
+14: The ear comes out around here (center of side of head).
 
 PAGE 148:
 
 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.
+2: (right of 1) Let’s take a look out how facial feature position and shape can change. In addition to 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.
+4: The temporal region can be made out slightly.
-5: The distance between the corner of the eye and the sideburns.
+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.
 
 PAGE 149:
 
 1: Profile
 2: Diagonal Back Angle (Eyes can be seen)
-3: Nose can’t be seen.
+3: The 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
 
 PAGE 150:
 
 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.
+16: The eye placement (distance from the brow) is narrow and realistic. Vertically, the eye is large. 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.
+19: The eye placement is a bit farther from the brow and the eye shape is longer horizontally. The eye shape is more slit, giving off a 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.
+22: The eyes are quite far from the brow and are larger vertically. Gives the character a more aloof and relaxed feel.
 
 PAGE 151:
 
 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.
+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.
 
 PAGE 152:
 
 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.
+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.
+11: In the case of a realistic face: The nostrils are drawn in.
 
 PAGE 153:
 
 1: Downwards Angle
-2: Diagonally Downwardly Faced. The surface area of the upper head gets larger.
+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.
+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.
 
 PAGE 154:
 
 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.
+6: (below 5) The mouth is roughly 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.
+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.
 
 PAGE 155:
 
 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.
+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.
+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).
+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.