RrOBg fimuml$uffliluiluu[iluufiuuil rnr!'HovToDRA$/

!rtiurtujrtilvoL.3

tltliSUituir

).UIJ SiiSilu!

L-+-+:1.

Go Office

karleenheongSquare

karleenheongSquare

tovxSDR#

ffiVol.l : Compiling CharactersChapter 1 Drawing the FaceChapter 2 How to Draw BodiesChapter 3 Drawing CharacterslsBN4-7661 -1 473-6

Vol.2: Compiling TechniquesChapter'1 Background Management BasicsChapter 2 Tone TechniquesChapter 3 Expressing Light and ShadowslsBN4-7 661 -1 47 4-4

Vol.3: Compiling Application and PracticeChapter 1 How to Draw lnteriors and ExteriorsChapter 2 How to Draw MachinesChapter 3 How to Create a Short Story MANGAlsBN4-7661-1475-2

Vol.4: Dressing Your Characters inCasual Wear

Chapter 1 Underwear and T-shirtsChapter 2 Sweatshirts and SkirtsChapter 3 Jackets and JeanstsBN4-7 661 -1477 -9

Special: Colored Original Drawing(Copic Sketch Pen)Chapter 1 Copic Sketch PenChapter 2 Copic Airbrushing SystemChapter 3 Try Using Different Painting Materials with MarkerslsBN4-7661-1479-5

Vol.5: Developing Shoujo MangaTechniques

Chapter I How to Draw CharactersChapter 2 How to Draw BackgroundsChapter 3 How to Create StoriesChapter 4 How to Create Manga

Manuscripts1SBN4-7 661 -1 47 6-A

Vol.6: Martial Arts & Combat SportsChapter 1 ..ludoChapter 2 KarateChapter 3 KendoChapter 4 BoxingChapter 5 Street BattleslsBN4-7661-1478-7

Distrlbuted byJAPAN PUBLICATIONS TRADING CO,,LTD.

'- - :;-.-'j-=- -

:.:. la,yooa-ku. Tokyo. I0l-0064 Japan:-rrr- i - - j - :-r-- j-: - -

-, : 3' -3-3292 Cdl C E-mail: jpt@lptco.co.jp

HruBtr;^44\{F+-F

ffi TODRAS/Enhancing a Charaeter's

Sense of Presence

Vo!.3

MoRE HoW T0 DRAW MANGA Vol. 3: Enhancing a Character's Sense of Presenceby Hikaru Hayashi, Rio Yagizawa/ Go 0ffice

Copyright @ 2003 Hikaru Hayashi, Rio Yagizawa/ Go 0fficeCopyright @ 2003 Graphic-sha Publishing Co., Ltd.

This book was first designed and published by Graphic-sha Publishing Co., Ltd. in Japan in 2003.This English edition was published by Graphic-sha Publishing Co., Ltd. in Japan in 2004.

Artwork and Production: Kazuaki Morita, Yumiko Deguchi, Hiroko Shioda, Akira Gokita, Haruto,Kozue Onishi, Ushio, Kei Asagi, Ru'u, Mayumi Tomaru, Kento Shimazaki,Rio Yagizawa

Production Assistant: Takumi Takahashi, Kozue 0nishi, Haruki TakahashiProduction Support: Julie AsakuraCoverArtwork: Kazuaki MoritaEnglish Main Title Logo Design: Hideyuki AmemuraComposition and Text: Hikaru Hayashi, Rio Yagizawa (Go Office)Article Conhibutor : Yoshihiro YonezawaReference Photography: Go 0fiiceEnglish Edition Layout Shinichi lshiokaEnglish Translation Management: Llngua fr6nca, lnc. (an3y-skmt@asahi-net.or.jp)Planning Editor: Motofumi Nakanishi (Graphic-sha Publishing C0., Ltd.)Foreign Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)

All rights reserved. No paft of this publication may be reproduced or used in any form or by any means- graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage andretrieval systems - wlthout written permission of the publisher and the copyright holders.

Distributor:Japan Publications Trading Co., Ltd.1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, 101-0064Telephone: +81 (0)3-3292-3751 Fax: +81 (0)3-3292-0410E-mail: jpt@jptco.co.jpURL: http://wwwjptco.co.jp/

First priniing: August 2004

tsBN 4-7661-1484-1Printed and bound in China

Vol. 3Enhancing a character's sense of presence

\\

[\(v

Chapter 1The lmportance of Tone Work

Tones Attached to Characters Serve 2 Purposes: Shading and C010r.........87 Panelization Styles Used to Enhance the Character's Sense of Presence ...........1 0

Composition Samples Using the 7 Panelization Sty|es..............................123PanelizationStylesSuitedtowardShading.... .,...,..............13

The Fundamentals of Light and Shadow ...........143 Types of Shadows Connected to Light Standard, Bright, and Soft Light.....16The Shading Process .........,.,.........18The ABC's of Tone .......20Attaching Tone:Tools and the Process...... .........22

Sample Uses of Gradation T0ne.....,.,... ......................28

Ghapter 2Character Shading and Tone

The ABC's of Facial Shadows ............Shadows under the Chin ...........The Basics of Cheek Shadows ..............31Dark and Light Shadows: Bright andWhen to Keep the Face Shadow-Free ..............34Guidelines in Suggesting ColorPlanning According to Value

Table of Contents

32

4041Rendering the Hair.......

Profile .........

Moderate Low Angle ...........YCommon Body Shadows .............

Principles in Figure Shading.......Tricks to Drawing Body Shad0ws............. .........54

Male Characters............. ............54Female Characters... ...................58

Shadows at the Feet .............,........62Creating a Composition without Using Tone:Sample Compositions in Pen .........64

Ghapter 3Movement with a Sense ofThe Key Points to Portraying Natural Movement

Shoulder BasicsJuncture of the Shoulders and Neck (ShoulderThe Bust Shot Drawing Process

The Side Centerline Gives the Torso 72The Clavicle ls Another Vital Point to Giving ttreft-rsb ..,...76

Sample Clavicles .......................78

Showing a Figure Extending and Contracting Allows

The Waist and Back.....Bending Over and Hunkering Down .......... ..................,,92Arcing the Back/Leaning Back ................100Leaning to the Side: Fashion Model Poses ...................106Twisting and Turning

...........108Adding the Finishing Touches toa Hot "Backward Glance" Pose with Torsion ................,.....112

Ghapter 4More MangaThe Fundamentals of Manga Portrayal:Making the Composition Obvious at a Glance ............... ....1 16

4 Basic Elements..... ....,............116

Telling a Story Visually ..............1 17

Panel Design (Ihe ABC's of Page Composition) ..................1 18Giving the Panel Design Variation .................,120

Figures and Cars: How to Draw Comfortably Scenes ofFigures Getting in and out of Cars........... ........122Special Effects That Enhance a Character's Sense of Presence .............124

i

I Obiectives of this Book

miltKtl) ll v

This volumereveale allof Nhe keytechniqueo.

The lmportance ofTone Work

[:i:.i.:.:.:.: : ::.:

::::::l.::i'

I..,.""

Shading is a technique used to evoke asense of 3-dimensionality when added tothe face or figure. lt is primarily used in keypanels or shots. (

--a\

IG*

Wi:iiiiin

Close-upClose-ups areused to giveimpact to acharacter's facial

,/

#51, 61, 7'1, etc. are the toness commonlyused for shadows on the face and figure.

,,,',,:,,,,,:,:':.,,:,,.,:':.,,:r,,,:':-.:,:r,:rr::,,

: ||, --j: : -'i:|:, |:,,,||,||,,:.,,|:||:,,

Colors are portrayed by contrasting valuesof black, white, and grey, distinguishinglighter values from darker ones.

r_Ib=l'--o\ ilo IIFll

Tone Guides for Portraying Color

Darker values are often used toportray red or blue.

/ \/ \\ /\ /Lighter values are commonly used toportray yellow or pink.

o The same tone is attached in layersto portray shadow.

o This technique, which creates alook common to anime, works wellwith close-ups and withi I lustration -style artwork.

iflflflflilt1," :tEi,,

"ilirumr .sed for Both Shading and Color

Color

7 Panelization Styles Used to Enhance the Gharacter's Sense of PresenceWhile manga artists seem to draw faces in countlessdifferent sizes, in truth they use only 7. Once you areable to distinguish properly these 7 different panelizastyles you will finally achieve success in enhancing yourcharacters' senses of presence.

(Fig. height approx. 22 cmor 8 5/8")

This is an impressiveshot, used when thecharacter is making hisor her appearance onthe scene. The head isabout 3 cm (1 1/8") inheight.

@ rult Figure: Large

Here we see a cut using faces' sizes used with O@. Bust shots like these are often used withconversation scenes. The faces appear at varioussizes, according to the facial expression ordimensions of the face within the panel.

Full Figure:Medium(Fig. height approx. '14 cm or 5 1/2")

This height is used forshowing the characterisfull figure. This height isstill considered on thelarge size for dramaticportrayal. The facialshadows are optional.The figure below showsa character of the sameheight seatedi

Long Shot: Large(Fig. height approx.7 cn or 23/4")

Long ShotMid-length(Fig. heightapprox. 4 cmor 1 1/2")

Long shots of acharacter are primarilyused in backgroundsand settings in order toestablish the scene.(i.e. they appear inpanels focusing moreon the backgroundthan the character.)

i--t+-

hl

,{

lllllltrruum $fmrlr:iiltrlm il _rm r-s; of fie large full figuret[mmltuu]tr *# e.-. lt is the most frequenily{rttmltt llrfim r 3 character used in manga. Userir 'lmlutllr lm f;r nce is optional. Shadows onllilr lttlltili,lr* ;r' ailfective.

\

*[,i,J , \\;..;lti./ i Ifh i, \ffiJ \it'\\@ wlio-sizeo {Close-up \

the 7 PanelizationUse tone for uniforms and other areas where the color ispredetermined. As shadows are added when the face orfigure size is large, the tone gives tonal balance, drawingout the character.

1:t::

l:titiil

O Full figure (large): Tone added for shadows on the face and figure and for the uniform's colors @ Full figure(medium and larger): Tone added only for shadows on the face and for the uniform's colors @ Long shot (large): Toneadded only for the uniform's colors @ Bust shot: Tone added only for the uniform's colors @ Close-up (mid-sized):The face is cropped, and tone is added for shadows in the face and the uniform's colors @ Close-up: Tone added forshadows in the face and the uniform's colors Note: Actual size of drawing approx. 1.2 times (120%) that shown in

, figgre.

$ Fanelization toward Shading Adding shadows to the face and figureare more effective when used with the

FullFigure(Large)Try to keeptone use onthe facesimple (i.e. donot use much).

rilltrlMilfimffilillurllut :re usedmr iiritiltru :nm-mitions,ruumfl m rt-,oductory scenes forflmrr,illu[ms as well as major scenes.llrililrl(1ir :me -rlst to overuse tone byi,rfilmurilrlflilnq : h every single character,m ,lrll]|lufl fi:rrB could have the counter

'rfrlillillfiinllllll !r i messy, busy composition.

Glose-up (Mid-sized)Perfect for when amoderately large face isdesired, this is half the sizeof a regular close-up andtwice the size of a bust shot.

tlti:{.1:.r.l.1r': \:l !:it.:lf::::::::::::\::i:::;:r

Average Light

Here, the rays of light following parallellines are referred to as "directional light."

14

While film and paintings require minutedirection in terms of the light source'sposition or the placement of lighting, itsintensity, number of lights/light sources,elc., in manga only the position of the lightsource need be decided (e.9. whether toplace it to the character's upper left or righlside, etc.).

Clothing: 10% toneShadows: 20% tone

The Fundamentals of Light and ShadowSince volume is portrayed using light and shadow,use shadow to create a sense of 3-dimensionality.

Normal indoorlighting, sunlight, etc.

Light Source

:: pecial Lighting Etfects

:r," :.- 1: ri light off a spotlight tends to: r -*:-s; use solid black ink instead ofn.-,. ": :':cuce a dramatic effect.

CombinedLighting

The spotlight is the most well known 'light ray." ln contrast tothe Sun, which is a directional light source, the spoflight isalso referred to as a point light source.

Here we see light coming from 2 sources (combined lighting) -in

this case from a streetlight and from a gate light. While in reality,most lighting is combined, in mangaconuention leans towardpoint sources or spotlights. Combined lighting is used whenseeking an out-of-the-ordinary mode of portrayal 0r effect.

Spotlight Double spotlight

,:illilrilifl ;r":

14

3 Types of Shadows Connected to Light:Standard, Bright, and Soft Light

Without Shadow

While this style appears clean, it makes for an overlysimplistic image up close.

Bright LightingUse black or a dark gradation tone.

Shape with Standard LightingTypically rendered in grey

This is extremely common shading and works w.for outdoors and indoors alike.

Shadows rendering inhatching and crosshatching

16

\@\.-

\/It

-

Shadows rendered in black

Soft LightingUse tone with fine dots ora light value (shade).

rc@Use #71, fine-dot tone.

Tone unetched: The smallarea occupied by the shadowsuggests "soft lighting."

illtMfrrung Solid Blacks to Boost the Sense of Presence

Layering tone to produce darkshadows instead of using solidblacks creates a look commonto anime. This style works wellwith illustration-style artwork.

'1,-r' : :(-Se 0l pfesenOe.

The Shading ProcessPenneddrawing

Directionol lisht

The plottedshadows will simplyserve as guidelinesfor where to attachtone, so avoid fillingthem in.

@ Determine the light source. @ enttheshadows.Use a non-photo blue or yellowpencil to jot down the shadows.

a

Fill in any solid blacks before :attaching tone. Standard practice !dictates adding blacks under the !jaw line and underarm. a

aaaaaaOaaoaaaaaaaaaaaaaaaaaoaaaoa

Lead markings of non-photo blue and yellow pencils disappear when the drawing is put intoprint form or photocopied, so they are frequently used tools. A mechanical pencil may be used

1 8 instead, provided that the lead color is light blue or yellow.

Spotting Blacks

w"',:' j

,rir,,rummmre Shading

iilrfiM rilll]iilfffir3 and Tone

I

{Iltx

Il

i:i

Take care whenhatching that thestrokes do not end upin different directions.

Hatching and Tone

mtillilllIr:

ullillt I litl **l:rr,lstfliLlll]rlllllill]]' -,a:'ia:llrirnlfl:- igint' illliiill(fi: il! itifl]I r' l ll|illlj:r i-Jtead

iilltiltiili: -.; ::te.

" '1 1l ri -- PnqtI

19

The ABG's of ToneComposition createdusing solely 10%(saturation) tone

Figure created using tone ofuniform saturation but with

The mostcommon formtone, picturedhere, is known"dot tone."

The ten's place refers to the dots'

While each ofthese tones

61 -- The 1 refers to

t ,o% saturation.

a different feel,we can see from

I..-.-.-'-'-.-'-.-.-.-.-'-l

l-'-.-.-'-._.-.-.-......1t....-.-.......-..'.'...1

r_.-.-.-.-. -.-...-.-.-l

F..-.-.-...-..........1

li: ::':':': : : :':': ' ' : : : : :::: :::ill

1.1: ,, :. .: r'1: r':lrr:----ii-::t:=

tfu

0l

'11

21

31

41

5t

61

71

their numbersthey are in factthe same"saturation. "larger the figurethe ten's place,the smaller thedot size, andnumbers like 60.70, and over haw.,very tiny dots.

varying dot sizes

Nos.11to91

81

" l: " :: Cfeated. "::1090%r -- :0ne

This figure was created usingtones solely of the 50s range.(i,e. all of the dots are the samesize.)

ill

llHr

54

52

54

53

55

50

tmait................ ._. I J!t-....-............lI. -. - -..-,.,. ._._It. .... - -........tt . . . . . . . . . , . , . , . , . . . . . t

Ea..tY.r,tr.rH :thNItttt{df,itttti[tf,ttttttttflEt[H{t{I[!*]

ffi,,30s series tone

r' r - i:r ln these 2 pages are lC Screen. Slight differences do appear from brand to brand

: I :i : : r the spacing between dots, even-When the tone numbers are identical.

Tones with the same number in theten's place have the same dot size.The difference lies in the density(saturation level).[-------l srltL I (10%)tl[:'t,:,:,:,:.,,t,t,,,,,tit,:.t,t,t.,t,t,,] tZOoZA

[::iiiii:iii:il:i:iii:iiii::ii:!iilil] (30%)

fl:8"*II*:;rIEll s+t:t::::::::::::::::::::::: :::r:r:::rl!::::l

li:iiiiii::::ii::iiiiii::i!:ii!il (40%)[::I:::I::::i:::::i:::::i::::::::::::::ll::i:!:i:::::!:j:i:::::i:!:i::::::::::::::::l

[ijii:lir:!:i:ilr:i]li:il_:i:i:i::i:1 /qn0,{^\

ffit-^w"oWWffi$O%IW50s series tone

Tones between 50 and 55

21

AttaChing TOng -Tools and the process-

E Getting Started @efore Attaching Tone)

Attaching Dot Tone toa T-Shirt (lC-51 Used)

Matching up the Tone Size

@ Trim the tone to thedesired size (cut it slightlyon the large-side).

O Lay the tone with the backing attachedover the panel.

When attaching tone to the whole panel,some artists will slide the panelbetween the tone and its backing.Caution: the adhesive back of the tonedoes pick up specks easily.

.-\\ \\21 \v\,r.

@^bThe tone may be trimmedwilh the backing stillattached.

Non-stick paper

Adhesive

New tone has a paper backing.

22

' ,huut llhn :rr: :r top of the panel and press lighfly.

llilnm,.qffi#r 1 i[] i}?r Jc entire target area. Do not press down too hard onportions you plan on removing.

Press down onareas to bepermanentlyattached.

Common Pitfalls

Points Goncerning ToneAlignment

-at-l

i:i:i::l -E:to_a_a_ol o-O-It is important Except for when athat you align the pafticular effect istone squarely desired, tone isagainst the panel rarely attached ator drawing. a skewed angle.

Another good idea is tocheck the alignment with astraightedge before pressingdown on the tone.

A Word on Soiled Tone

L

ET

i,'ri,3 X',. tone is supposed to cover the T-shirt, trim itI :':end slightly over the target area in all directions.:i: :iot use the panel as your guide to trimming.;q,h?ys remember that the target area is the area tourr,:h the tone will be attached.)

V

The adhesive backing easily attractsparticles, and once the particlesattach, they will not come off, Particles attached

to soiled tone willshow up during theprinting process,

The particles arestill evident evenafter greatlyreducing theimage.

29

The tone fails to cover theentire target area. Takecareful note of edges andc0rners.

t*:#;H"thetone

---_--.-.tj?j

fluriflmlllrnfl

lrii ilii -:l never remove the paperiliilri r -: -T"ll the entire tone whenluiiiiitil r'' "-,- :rne to a small target area."''ll

:Ljl-P-:S ve baCk eaSily attraCtS dUSti' r:1r

" r1,r:ES. WhiCh COUId ruin almost, :

-

1U..,

Paper backing

Always leave on the paperbacking. ry;

fl Trimming the ToneThe knife is held similarly mrpencil, but more erectly.

Replace the blades as theybecome dull.

Craft knives

ill ,:al,ar,'::,,.,,,:

450 angle

.r I.

,,1 !. ,.

:L:::'::l.

600 angle

Blades with 600angles do cut better,but they are sharp,so be careful whenusing them.

Hold the knife as upright as possible.

Take extra care withcorners and areas wherethe knife directionchanges, as they are oftennot fully cut.

Contour line (main line)

Tone

Knife path

Try to trace the contour lineswith the knife.

24

Not god

Rotate the drawing,cutting along thepenned lines.

m, msmrmurng the Tone

d--

r- a#F*d &u.-

,lirffi,tiril lflr'mr- :a ::-3. lift up an edge using- nlrllll liillfa

,::: * :i :-:'31tS the,iB!'ilirlril! ',a:. cf the tone-"-T lil a::, ::,tChing:itiiiirtrltltrlt: i :-':iects the back'''-- il l -;l lrce you have'firirlll ir.-;-,s:!med to this' ,r1.:t :- ,,,ill become' :*:,::',e in handling

. l: r-:

Removing the tone can be lots of fun if ithas been cut properly.

Lift up the edge.

lf you accidentally cutall the way through thedrawing, reattach it byaffixing cellophanetape to the back.

-: rts are peeled up easily. However, they are often not- so take extra care with corners or points where the knife: - changed when peeling off the tone.

ilffiiilrliifi]llflll -f :..S: be USgd.

Remove the excess tone while holding down the target areas.

I

\il),,

,/ ra\r'- .- \',6 t'r'r-l . - I\.i

. ;l --'.

tlr&- \ "trj\'l '-\q /)kffis',"q 1., q--.\l' \\\\.-.-

25

E Rubbing the ToneTone Burnisher

The burnisherensures that thetone securelyaffixes to thedrawing. Press thetone down on thedrawing and rubwith the burnisherto ensure it willnot detach.

Correct way to hold theburnisher (Front)

Lay the tone's paper backingor a sheet of photocopy paperover the tone and rub. There

' are rare occasions whenrubbing directly the tone'ssurface that the tone rips or

\ becomes damaged, so I.-) recommend using a buffer

paper to those who tend topress down hard. Hold the burnisher at a low unsh ;iih.ir;prrt

to the paper.

,

t

I

1. Rub the center region. 2. Rub the edges of the tone and areas with major contour lines.

The stylus is used topress down securelytiny trimmed areas,

ri f"r:rii1: ce of the stylus allowslir; t,tdrr firmly; howevel you, ,-:= -g the original drawing,,ir",- r: .- a buffer sheet.

corners, etc.

Points requiring repeatrubbing.

The stylus is usedwhen adding the finaltouches, such as goingover one extra timeareas that detacheasily.

The stylus is held almost the same asa pencil,

f,irl\

Hold the stylus at an angleclose to the paper.

Here, the stylus is held tooveftically,

i5,uns;ttr,E Knowledge in Removing Tone and Handling After Removal3. Removing residual glue

,- -,. tone that has been really securely

n, -': neatthe tone lightlywith a, -','

After the tone is removed, some glue willremain. This tends to collect dust and grime ifleft as is, plus it could become inadvertentlystuck to drawings or other paper laid on top.

Use a clean regular or kneadederaser to rub the residual glueoff the drawing. Keep a kneadederaser on hand specifically touse for any finishing touchesneeded by your tone work.

2. After removal

/-\

le Uses of Gradation Tone

42.5L 6011 " = 2.54 cm 1 sq. in. contains 60 lines'I sq. in. contains 42.5 in all directions.lines in all directions.

Layering to Darken the Tone without Creating a Pattern

Gradation tone generally comes in 2 types: dark gradation, whicrgradates from black to white, and light gradation, which gradaEifrom grey to white. There is a diversity of gradation lones on tlumarket, coming in varying widths, etc.

Light gradation

Dark gradation

The "1" is an abbreviation for "line," an:it refers to the number of lines (rows) o'dots. This acts as a guideline whenlayering tones.

Just what does that "1" mean at the end of the tone number?

6011 sq. in. contains 60 linesin all directions.

+

Gradation Tones

-HWI| -t ;-r.re;I tu2-level (vertical) 3-gradation gri

BBffircretffiBGIffi2-level (horizontal) 3-gradation gri

.l ,, = 2.54 cm Patterns, including a moir6 effect, may appear whntones are overlapped.

Although these are both 10% saturation, whenoverlapped, the different numbers of dot linescauses a pattern to form.

t-...-,-..'-.-,-.-.-...-.-.J l!:.:.1:.!:.:.r:.:.:.:.r.:.r:.1:{ [t.'.'.'.'.'. . .'.'.'. , , J t.:.tt:.tt: :: :i t:.ttt ! .I l\[::::::::::::::::::::::::::l{[:,;,:,:,:,;,;,:,:,:,:,:,:,:,:,:,:,:,:,1 | )l:.:.:.:.:.:.:.:.:.:.:.:.:.1 [::;.:::.:::::;:::.::::l -7t....-,.......,.,.......,.,J t.t:.;.:.i:.::.i:.:.ii::.::ilt....-........,.,.....'..,J [::.:]:::.:jj.i:jj.::.:r:l

il

+0verlapping tones with differing numbersof dot lines at various angles affects theappearance of the pattern formed.

A pattern can becreated by layerin;tones with the san{number of dot lineiat an angle.

42.5L(10o/o)

28 These patterns, including the moir6 effect, may be used as print patterns *

Characterand Tone

ShadingPortraval

The ABG's of Facial Shadows

The neck is a cylinder, causingthe shadow underneath the chinto have a curved contour.

ffir @N\ \ ,//Shadows form under the L, - \ I ll I Inose and the chin when \ \ {l//alightsourceshines \7.f]\ \\from straishtahead. (/rj# )\Shadows also formunderneath the lowerlip and the bangs.

/-\.-qa ,/T\ Il/ I\l

I \-' 1,,.0,,,.nI U lLishtsource

Straight onLight Source

3 main types of shadows form underneath the chin.Use all of them at your discretion.

Upper LeftLight Source

A shadow echoing the jaw lineforms under the chin.

Front LeftLight Source

mr 'rllllfiI lXitrrtr :'he eye as,llllxillllllrir.itr [r :ositioning

llfrfililtrii llfiiil,l]ii:sis

31

/-), Lit surface

,rlillllfl'

d{slulll] [rlillil

r\. \\\.\--\

..!s

\\-\=