THE MANGA ARTIST’S HANDBOOK

DRAWING DYNAMIC MANGA CHARACTERS

THE EASY 1-2-3 METHOD FOR BEGINNERS

TOMOMI MIZUNA
JUNKA MOROZUMI

HOW CAN I MAKE MY CHARACTERS MORE DYNAMIC?

Since publishing The Manga Artist’s Handbook: Drawing Basic Manga Characters, this is the question readers have most frequently asked. The focus of that guide was on the basics: proportion, framing, blocking-in and the various poses manga artists need to master. The goal was to give beginning manga artists an understanding of balance and composition, by tracing the blocked-in drawings in their own style.

Now you manga maniacs want to stretch your skills, creating characters with more animated expressions and more complex poses. As with our other manual, the guiding principle here is the same, follow the tips and learn the techniques all while applying and developing your own style.

No matter what your character is doing, the entire body is involved. Elation, dejection, fear, emotions are felt and expressed in the entire body, and now you can capture these nuances and details with realism and clarity. Expression is not reserved for the face alone, so mastering motion and movement is essential to elevating your personal style. Learn the ropes while adapting these tips and techniques to your own vision and the story only you—and your characters!—can tell.

Compelling and complex poses and eloquently expressive faces are now as easy as 1, 2, 3. Trace the faces, fill in the bodies, then add the details, the embellishments and finishing touches only you can include when creating a manga universe all your own.

What Is Blocking-In?

Blocking-in means roughly sketching an outline or a form in order to flesh out a character’s shape and pose. Professional manga artists and illustrators don’t just dash off a polished, finished artwork. Instead, they create a rough sketch, which they then go back over in pencil before adding color and refining the illustration in pen. The lines used while blocking-in are faint, so they can be easily erased, making it simple to correct the figure’s positioning or to rethink poses. Blocking-in is invaluable when drawing characters’ signature poses or when fitting multiple characters into a single cell or frame.

Gallery of Expressions

This chart allows you to use facial expressions to search for the poses you want to draw. It is roughly color-coded into emotional genres.

Emotions color key:

Combine Expressions and Poses for Amazing Illustrations!

Emotions Happiness, anger, sadness, anticipation: the nuances of these emotions can be hard to capture. There’s a lot of appeal in an illustration that can convey in an instant what a character is feeling!

In other words……

Emotion is conveyed through both the face and the body!

This book is broadly divided into two sections: a log of facial expressions to practice and a collection of blocked-in poses. For those who are not confident drawing faces, it’s best to start with the practice in Chapter 1 to get a grip on the basic emotional expressions, then go to the collection of blocked-in poses in Chapters 2 through 5. Readers who want to practice poses using the entire figure can try starting with these chapters.

How to Trace the Blocked-In Parts

When tracing over the blocking-in, there are two methods that can be used. One involves tracing exactly over the top of the blocking-in itself, while the other involves tracing just inside (or just outside) the blocking-in. Choose whichever method works best for your personal style.

Size of the Face

The Line of the Body

Example 1

“BLUE’S FINAL BATTLE” illustration: Tomomi Mizuna

Combine various poses for a layered montage. Play with the characters’ sizes, poses and placement to create a dynamic composition!

Example 2

“A PAGE OF MEMORIES” illustration: Junka Morozumi

Changing the expression on a character’s face means it can be adapted to a range of different scenes and settings. Try mixing up faces and poses to use in various scenarios.

Example 3

Romantic Manga: The Softer Side Manga: Miki Kizuki

Combining lively expressions and poses creates a propulsive sense of drama and flow, not just in full-page scenes but in manga made up of several panels and parts.

Horror and Action Manga: Finding a Harder Edge

© Shanon/Seven Spins, Eight Crashes/xxxx Iijima

The facial expression with raised eyebrows and the pose with outstretched hands perfectly capture the character’s anger.

Example 4

An Infinite Variety of Styles!

Even when artists use the same blocking-in techniques, the drawings that result can vary widely depending on their personal style. Consider clothing, hairstyles, age and other distinguishing factors when adding complexity, subtlety and detail to your drawings.

Creating Original Facial Expressions!

If three illustrators are asked to draw the same expression or mood, they’ll come up with three vastly different takes on it. The drawing will reflect a particular style, the spark of originality and individual touch that makes your illustrations uniquely your own. Look at the examples below as you discover your own way of capturing the many moods of manga!

HOW TO USE THIS BOOK

THE IDEA IS TO PRACTICE DRAWING BY TRACING OVER THE TOPS OF THE ILLUSTRATIONS.

Chapter 1

Basic Expressions

The basic guidelines for drawing the face and its many expressions are the same for all illustrators. So it just comes down to making your drawings your own. Study and practice the expressions here, then adapt them to develop your own style.

REGULAR EXPRESSION

Pose for this Expression P.34

SMILING

Pose for this Expression P.35

ANNOYANCE

Pose for this Expression P.38

SURPRISE

Pose for this Expression P.39

POUTING

Pose for this Expression P.37

WINKING

Pose for this Expression P.39

CRYING

Pose for this Expression P.40

AMUSED

Pose for this Expression P.41

FRUSTRATION

Pose for this Expression P.44

LOST IN THOUGHT

Pose for this Expression P.43

EXCITED

Pose for this Expression P.66

SMUG

Pose for this Expression P.56

GLARING

Pose for this Expression P.51

SNEERING

Pose for this Expression P.54

ENDURING PAIN

Pose for this Expression P.59

COMING TO ONE’S SENSES

Pose for this Expression P.83

LAUGHING MANIACALLY

Pose for this Expression P.84

SMILING WARMLY

Pose for this Expression P.68

DECLARING LOVE

Pose for this Expression P.74

SCREAMING

Pose for this Expression P.85

EXPERT TIPS 1

ADDING EFFECTS

In addition to making various facial features stand out, effects add nuance and depth to the facial expressions you’re mastering.

BLUSH LINES

Blush lines appear when the character is feeling shy or awkward. See Page 64 for more examples.

TURNING PALE

This depicts color draining from the face. Use the screen tone or slanted lines to create this look.

PANICKED SWEAT

This shows confusion or nervousness. Add this effect to the cheeks, temples and forehead.

SHADOW

Use this effect for a character deep in thought or mulling over a bad mood. For more on adding shadow, see Page 91.

ANGER

Veins bulging on the cheeks and temples signal an intense anger.

THREATENING

Delete the highlights from the eyes and add shadow to the center of the face.

Chapter 2

Adding Emotions

FACE BASICS

HAPPINESS/ENJOYMENT

There’s more than one way to draw a smile: subtle differences in how the eyebrows, eyes and mouth are drawn result in a completely different look. Try altering the position of the features to develop your own smile style.

SADNESS

The gaze is pointed downward and the head hung low in expressions of sadness. When the grief can’t be contained, the eyes are squeezed shut as tears spill out.

RAGE

Rage is captured in the eyebrows. When the face is pinched or tightened with emotion, the inner brows lower and draw closer to the eyes, while the outer edges lift up.

THREE DEGREES OF ANGER

STANDING STRAIGHT

LEVEL:

START WITH A STANDING FIGURE, MAKING CHANGES AND REFINEMENTS TO THE FACIAL EXPRESSION AS YOU GO ALONG.

SMILING AND FLASHING THE PEACE SIGN

LEVEL:

ALTHOUGH THESE TWO FRIENDS ARE BOTH MAKING THE PEACE SYMBOL, DIFFERENCES IN THEIR EXPRESSIONS AND IN THE ANGLES OF THEIR BODIES ALLOW THEIR PERSONALITIES AND DISTINCTIVE QUALITIES TO SHOW.

EXPRESSING SURPRISE

LEVEL:

THE FIGURE APPEARS TO BE PULLING BACK, AS IF STARTLED. NOTE ALSO THAT THE BODY IS SEEN FROM A SLIGHT ANGLE AND THE SHOULDERS ARE RAISED.

POUTING WITH FOLDED ARMS

LEVEL:

THIS CROSS-ARMED POSE CAN BE VARIED TO CONVEY DIFFERENT DEGREES OF JEALOUSY OR SULKING.

FISTS CLENCHED IN RAGE

LEVEL:

THIS POSE SHOWS THE HANDS SHAKING WITH RAGE. A WIDEOPEN MOUTH GIVES THE APPEARANCE OF SCREAMING.

JUMPING FOR JOY

LEVEL:

WHEN A CHARACTER IS LEAPING IN VICTORY, THE OUTSTRETCHED HAND ENHANCES THE SENSE OF JOYFUL ABANDON.

WIPING TEARS AWAY

LEVEL:

DRAWING THE FACE LOOKING SLIGHTLY DOWN IS THE FIRST STEP IN CONVEYING A CHARACTER’S SADNESS.

POINTING AND LAUGHING HEARTILY

LEVEL:

FOR AMUSEMENT THAT CAN’T BE CONTAINED, DON’T FORGET THE HANDS OR THAT LAUGHTER IS EXPRESSED IN THE ENTIRE BODY.

HOLDING ONESELF

LEVEL:

BOTH THE BODY AND THE FACE CONVEY THE CHARACTER’S LONELINESS AND SORROW. BACKGROUND SCENERY CAN BE ADDED TO HEIGHTEN THE SENSE THAT THE SOLITARY FIGURE APPEARS TO BE COLD.

RESTING A CHEEK ON ONE’S HAND

LEVEL:

AN INDIRECT GAZE HELPS CONVEY A LOOK OF CONTEMPLATION OR SUGGEST A CHARACTER LOST IN THOUGHT.

GETTING IN A HUFF

LEVEL:

TYPICALLY EXPRESSING ANNOYANCE, THIS POSE CAN BE TRANSFORMED INTO ONE OF PRIDE IF THE FACIAL EXPRESSION IS CHANGED TO A SMUG SMILE.

FEELING DEPRESSED

LEVEL:

TRY POSITIONING A LONELY OR SOLITARY FIGURE IN THE CORNER OF A ROOM OR ON A BED.

SINGING AND DANCING

LEVEL:

THIS POSE MIMICS A PERFORMER ONSTAGE HOLDING A MICROPHONE. ADD A BUBBLY SMILE AND ENERGETIC DANCE MOVEMENTS TO HEIGHTEN THE SENSE OF JOYFUL ABANDON.

FALLING DOWN IN DESPAIR

LEVEL:

USE THIS POSE FOR INTENSE SHOCK OR REGRET IT’S HARD TO RECOVER FROM.

EXPERT TIPS 2

SEASONAL TOUCHES

Working the seasons into your scenes allows for a greater range of facial expressions. Using these examples as starting points, try drawing various pictures with seasonal touches.

Chapter 3

Action and Conflict

EXPRESSIONS FOR FIGHT SCENES

In scenes involving fighting or conflict, expressions become intense and serious. When facing opponents, the gaze is fixed steadily on them at all times. Aim for a dynamic, unusual pose when drawing the body, in order to ratchet up the tension in the scene.

BEING GRABBED BY THE SHIRT FRONT

LEVEL:

THIS IS THE KIND OF TENSE SCENE THAT REALLY GRABS YOUR ATTENTION AND GETS YOUR PULSE POUNDING. USE IT FOR REALISTIC OR FANTASY STORIES ALIKE.

WINCING IN PAIN

LEVEL:

EVEN THOUGH HIS SHOULDER HAS BEEN INJURED IN BATTLE, THIS CHARACTER HAS NO INTENTION OF GIVING UP.

RAISING AN ARM IN SELF-DEFENCE

LEVEL:

SHE TRIES TO AVOID THE IMPACT BY RAISING HER ARM.

A CONDESCENDING SMILE

LEVEL:

THIS POSE IS DEPICTED FROM SLIGHTLY OVERHEAD TO SHOW THE FIGURE LOOKING DOWN ON HIS OPPONENT. THE FACE IS RIGID, COLD AND CALLOUS.

POINTING A DAGGER

LEVEL:

HERE, A YOUNG GIRL DESPERATELY FIGHTS AN OPPONENT, SHOWN NOT JUST IN HER POSE BUT IN HER EXPRESSION OF FEAR AND ALARM.

SMUGLY FOLDING THE ARMS

LEVEL:

“YOU’RE IN TROUBLE NOW!” HERE THE BODY ARCHES SLIGHTLY BACK, AND THE HANDS ARE FOLDED IN FRONT.

STANDING ONE’S GROUND

LEVEL:

“I’LL NEVER FORGIVE YOU!” THIS POSE CAPTURES A FIGHTING SPIRIT FUELED BY FRUSTRATION AND A SENSE OF INJUSTICE.

ENTERING INTO BATTLE

LEVEL:

HERE, THE CHARACTER IS CRYING OUT AS HE RUSHES TOWARD AN OPPONENT. MAKE USE OF CLOTHING AND THE WEAPON TO CONVEY THE SENSE OF MOVEMENT AND SPEED.

HUDDLED OVER IN PAIN

LEVEL:

UNABLE TO BEAR THE PAIN, THIS YOUNG WOMAN SINKS TO THE GROUND.

HOLDING AN INJURED PERSON

LEVEL:

IN THIS TENSE SCENE, A CHARACTER CRIES OUT TO HIS UNCONSCIOUS FRIEND. MAKE SURE TO CAPTURE THE DESPERATION IN HIS FACE.

DRAWING A PISTOL

LEVEL:

A SIGNATURE POSE VIEWED FROM ABOVE. THE ARM HOLDING THE WEAPON, EXTENDED IN DEFENSE, IS DRAWN A BIT SHORTER.

EXPERT TIPS 3

BATTLE SCARS

Adding scars and scratches to characters in fight scenes brings out the intensity of the conflict. Scrapes and abrasions on the face, arms and other clearly visible areas only heighten the tension.

Clothing gets ripped and torn during a fight. Consider the scene and how the characters’ clothes come into play. If they are caught on a branch, they’ll tear in a ragged line and fibers will remain; if they are cut with a knife, the tear will be clean and straight; if they are involved in an explosion, they’ll be scorched.

Chapter 4

The Softer Side

BLUSH LINES

For scenes of love and romance, mastering the blush is essential.

TYPES OF BLUSH LINES

MAKE BLUSH LINES DIFFERENT FOR MEN AND WOMEN

Keep blush lines to a minimum for men, as adding too many can make for a lewd effect. Adding them to a woman helps convey that the couple are in love.

GETTING BUTTERFLIES IN THE STOMACH

LEVEL:

WHEN DEPICTING EXCITED STATES, TRY SHOWING THE FIGURE NOT ONLY FROM THE FRONT BUT FROM THE SIDE TOO. THIS MAKES THE EYES APPEAR AS IF THEY HAVE JUST SPRUNG OPEN.

HANDS CLASPED IN ANTICIPATION

LEVEL:

USED TO INDICATE SURPRISE, THIS EXPRESSION ALSO COMES IN HANDY WHEN CAPTURING DEEP ADMIRATION.

SCRATCHING THE HEAD FROM EMBARRASSMENT

LEVEL:

THIS POSE SHOWS THE AWKWARD SHYNESS THAT ARISES WHEN A CHARACTER IS BEING FLATTERED BUT IS UNABLE TO ACKNOWLEDGE THE COMPLIMENT OR PAY ONE IN RETURN.

CLASPING BOTH HANDS BEHIND THE BACK AND LOOKING OVER THE SHOULDER

LEVEL:

USE THIS POSE TO SHOW SHY FLIRTATION AS THE CHARACTER CASTS A SIDELONG GLANCE TOWARD HER LOVE INTEREST.

WATCHING FROM THE SHADOWS

LEVEL:

HERE, THE CHARACTER HAS WITNESSED SOMETHING SHOCKING. ADD SLANTED LINES TO THE FACE AND SWEAT TO SHOW PANIC AND USE GROUPED LINES TO INDICATE SURPRISE.

EMBRACING FROM BEHIND

LEVEL:

A POSE STRAIGHT OUT OF A ROMANTIC COMEDY: PAY PARTICULAR ATTENTION TO HOW THE ARMS CROSS OVER AND INTERLACE.

A KISS ON THE CHEEK

LEVEL:

GET A ROOM: THIS LOVEY-DOVEY POSE IS PERFECT FOR THE FINAL SCENE OF YOUR LOVE STORY, ALSO KNOWN AS THE HAPPY ENDING.

WHISPERING IN SOMEONE’S EAR

LEVEL:

JUICY GOSSIP SHARED IN THE SCHOOLYARD: IMAGINE WHAT THE SECRET IS AS YOU DRAW!

A PAT ON THE HEAD

LEVEL:

HERE THE HEIGHT DIFFERENCE IS USED TO GOOD EFFECT IN A SCENE SHOWING A GIRL WITH A CRUSH ON AN OLDER BOY.

CONFESSING FEELINGS OF LOVE

LEVEL:

A “BUTTERFLIES IN THE STOMACH” MOMENT! THE SHOULDERS LIFT UNCONSCIOUSLY AND THE KNEES TURN IN.

ARRIVING AT A RENDEZVOUS

LEVEL:

THIS POSE IS IDEAL FOR WHEN A CHARACTER BREEZES IN A FEW MINUTES LATE. MAKE SURE TO RENDER THE LIMBS IN A LOOSE, RELAXED WAY.

HUGGING A STUFFED ANIMAL

LEVEL:

USE THIS POSE TO CONVEY THE SADNESS AFTER A BREAKUP OR AN ARGUMENT. THE KNEELING POSTURE PARTICULARLY SUITS A YOUNGER CHARACTER.

PLAYING KEEP AWAY

LEVEL:

TEASING OR FOOLING AROUND WITH A FRIEND: USE THEIR EXPRESSIONS TO SHOW THE PLAYFUL NATURE OF THEIR FRIENDSHIP.

EMBRACING

LEVEL:

AT FIRST GLANCE, THIS APPEARS COMPLICATED, BUT A LOOK AT THE BLOCKING-IN SHOWS THE COMPOSITION OF THE PARTS LAYERED OVER EACH OTHER. PAY PARTICULAR ATTENTION TO DETAILS SUCH AS THE LENGTH OF THE ARMS.

A LEAPING EMBRACE

LEVEL:

IN THIS SCENE, ONE CHARACTER LEAPS UP AND WRAPS HER ARMS AROUND ANOTHER. THE MOVEMENT IN THE ENTIRE BODY MAKES FOR AN UNINHIBITED EXPRESSION OF LOVE.

EXPERT TIPS 4

BLOCK IT ALL IN

When bodies overlap or are concealed by objects, failing to draw the obscured sections properly results in the torso becoming too long or the arms too short. Make sure to block-in even the sections that are not visible.

Chapter 5

Tense Situations

THE HORROR!

With frightening, desperate or horrific scenes, bring out a different kind of tension by widening the eyes, contorting the facial features and adding shadowy effects.

ALL EYES: REMOVING THE HIGHLIGHTS

DRAWING A SHOCKED OR HORRIFIED EXPRESSION

The more the face is contorted, the more shocking of an impression it makes. Adding bags under the eyes, shadow around the eyes and wrinkles to the nose creates a truly ghastly expression.

From the example on Page 15

DAWNING REALIZATION

LEVEL:

THIS POSE SHOWS A CHARACTER SUDDENLY REALIZING THE FULL IMPORT OF SOME DARK DEED HE’S DONE.

INSANE LAUGHTER

LEVEL:

FOLLOW THIS MODEL IF YOUR CHARACTER HAS BECOME DERANGED OR TEMPORARILY TAKEN LEAVE OF HER SENSES.

GASPING

LEVEL:

WHEN A CHARACTER SCREAMS AT THE SIGHT OF SOMETHING TERRIFYING, THE HAND IN FRONT OF THE MOUTH IS THE KEY, BUT THE GESTURE OF THE OTHER HAND IS ALSO IMPORTANT.

SHAKING WITH FEAR

LEVEL:

HERE, THE BODY TREMBLES UNCONTROLLABLY IN FEAR. ADD A SERIES OF LINES TO EXPRESS CHATTERING TEETH AND AN UNCONTROLLABLE SHUDDER.

SLAPPING SOMEONE’S FACE

LEVEL:

IN A FIGHT SCENE, CAPTURING THE AGGRESSOR’S SLAP OR PUNCH IS JUST AS IMPORTANT AS THE REACTION ON THE OTHER CHARACTER’S FACE.

EXHAUSTED

LEVEL:

OBSERVE YOURSELF WITH SLACK MUSCLES TO SEE WHAT KIND OF POSES ARE CREATED IN THESE SITUATIONS.

BACKED INTO A CORNER 1

LEVEL:

HERE, THE YOUNG MAN BACKS UP IN FEAR. THE SUBTLE CROUCH IN THE RETREATING FIGURE CAN BE HARD TO GET JUST RIGHT.

BACKED INTO A CORNER 2

LEVEL:

HERE’S ANOTHER VERSION OF THE SAME SCENARIO. ADD THE WALL OF A BUILDING OR A SIMILAR BACKDROP TO UNDERSCORE THE SENSE OF BEING TRAPPED.

EXPERT TIPS 5

SHADOWY SUBJECTS

In scary or violent scenes, adding shadow to your characters’ faces ratchets up the sense of tension. Consider which direction the light is coming from and add shadow effects accordingly.

Chapter 6

Draw It Chibi Style!

WHAT IS CHIBI?

With chibi characters, proportions and expressions are altered and distorted for an exaggeratedly cute, comical or cartoonish effect.

Chibi style involves emphasizing or overexaggerating features and body parts. Altering its typical appearance allows a character or scene to take on a more offbeat or unusual appearance or impression. It’s a technique typically used in humorous scenes.

VARIOUS CHIBI EFFECTS

Exaggerate expressions for comic effect!

Suited to humorous scenes. Even though the girl is crying, the mood is kept light rather than getting too serious.

Exaggerate cuteness!

Make the character’s head a third or even half the size of the body to create a cute, mascot-like character you’d want to take everywhere.

Exaggerate emotions!

Even in tense scenes such as when a character is in despair, this approach prevents things from getting too serious and lends an air of calm.

SADNESS

Model for this pose P.40

DISAPPOINTMENT

Model for this pose P.47

TURNING TO LOOK BACK

Model for this pose P.68

WATCHING FROM THE SHADOWS

Model for this pose P.69

INSANE LAUGHTER

Model for this pose P.84

BACKED INTO A CORNER

Model for this pose P.90

NOW LET YOUR IMAGINATION SOAR!

Now your manga creations have assumed a new dynamic dimension and your characters can express emotion not just through their faces but using their entire bodies. And these techniques apply to more than just people of course—in the animal kingdom, dogs wag their tails when they’re happy and when cats sense danger, the hair stands on end on their entire body. In the case of your human creations, the face alone can convey a lot, but adding body and hand gestures makes for a richer expression and more compelling scene. The endless combinations of facial expression and poses make for infinite possibilities when it comes to your storytelling and allowing your talent and imagination to soar!

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ATARI KAKUMEI 2

Copyright © Junka Morozumi, Tomomi Mizuna 2010

All rights reserved

English translation rights arranged with MAAR-sha Publishing Co., Ltd

through Japan UNI Agency, Inc., Tokyo

ISBN 978-1-4629-2147-8

English Translation © 2020 Periplus Editions (HK) Ltd.

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