Brenda Hoddinott
F-05 BEGINNER: HATCHING

This project guides you through the process of setting
up proportional guidelines, and using symmetry to
draw the facial features and hair of a male anime
character named Kobrah. Super simple hatching lines
are then added to the face to create the illusion of
three-dimensional reality.

The overall proportions of most anime adult faces are similar to those of a human child, giving
the characters the appearance of having a childlike head attached to a mature adult body.
This lesson is divided into the following three sections:
Ü INTRODUCTION: The term Manga encompasses a vast array of individual styles of
drawing, which allows artists to use their creative license in the design of their characters’
faces, hairstyles, personalities, and clothing.
Ü SETTING UP PROPORTIONS: I take you step by step through the process of setting up
proportional guidelines on a frontal view of an adult male anime head, and sketching his
facial features, ears, and hair within the proportional guidelines.
Ü OUTLINING AND SHADING WITH HATCHING: You add the hair and more facial
details, then outline the drawing with nice neat lines, and finally add shading with hatching.
If you choose to render this drawing completely in pencil you need: good quality white drawing
paper, graphite pencils, kneaded and vinyl erasers, pencil sharpener, sandpaper block, and a
ruler. If you plan to use a marker for the final version, you will also need a fine tip permanent
marker, and you should use a drawing paper that is specifically designed for drawing with
markers, rather than regular paper. You may even wish to add color to your drawing with such
options as colored pencils or markers.

This project is recommended for artists from age 10 to adult, as well as home schooling,
academic and recreational fine art educators.
17 PAGES – 21 ILLUSTRATIONS
Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada – 2004 (Revised 2006)




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- 2 -
INTRODUCTION
The term Manga encompasses a vast array of individual styles of drawing, which allows artists to
use their creative license in the design of their characters’ faces, hairstyles, personalities, and
clothing. The eyes of anime characters generally appear disproportionately large, and are the
most expressive part of their faces. The nose and mouth tend to be drawn small and simple so as
to further emphasize the powerful expressions of the eyes and the facial area around the eyes.
Refer to the next drawing and become familiar with terms used to identify each part of an eye:
1. The arch-shaped group of hairs, above the eye, is known as an eyebrow.
2. A fold in the skin, above the eye is called an upper eyelid crease.
3. The upper eyelid is a movable fold of skin that opens and closes to protect the eyeball.
4. The white of the eye (the visible section of the eyeball) is light, but not really white.
5. A highlight is the brightest area where light bounces off the surface of the eye.
6. The pupil of an eye is the darkest circular shape within the iris.
7. The iris is the colored circular section of the eyeball surrounding the pupil.
8. The lower eyelid is a fold of skin protecting the lower section of the eyeball.
ILLUSTRATION 05-01












SETTING UP PROPORTIONS
In this section, I take you step by step through the process of setting up proportional guidelines
on a frontal view of an adult male anime head, and sketching his facial features, ears, and hair
within the proportional guidelines. Proportion is the relationship in size of one component of a
drawing to another or others. Keep in mind that the facial proportions of this adult manga
character are very similar to those of a real life child.

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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 3 -
1. Use a ruler to draw a straight line down the center of your page (Line AB).
Use an HB pencil, and keep your line very light so it can be easily erased. Line AB is a line
of symmetry and provides you with a guideline for drawing both sides of the head the same
size. Symmetry is balanced arrangement (sometimes referred to as a mirror image) of lines
and shapes on opposite sides of an often-imaginary centerline. You simply measure various
horizontal distances on either side of the line. Shape refers to the outward outline of a form.
Basic shapes include circles, squares and triangles.
2. Choose two points along Line AB to be the total length of Kobrah’s head, and draw a

horizontal line through each point.
The greater the distance between these two points, the larger your drawing will be. The
upper line (at point A) marks the location of the top of his head, and the lower line (at point
B) marks the bottom of his chin.
3. Measure the total length of the vertical line AB (the total length of the head between
points A and B), and mark the halfway point.
4. Draw a horizontal straight line (Line CD) through the point.
Line CD divides the total length of the head in half.
ILLUSTRATION 05-02
5. Mark the halfway
point along line AB
(between Line CD
and the horizontal
line that marks the
bottom of the chin),
and then draw Line
EF through the
point.
Line EF divides the
lower half of the head
in half.
6. Mark the halfway
point between Line
EF, and the
horizontal line at the
bottom, and then
draw a Line GH
through the point.
Line GH divides the
lower quarter of the

head in half.

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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 4 -
ILLUSTRATION 05-03
7. Sketch the basic outline of the
bottom half of Kobrah’s face
with an HB pencil.
Keep your lines very light so
they can be easily erased. Use
the line of symmetry (line AB)
to provide you with a guideline
for drawing both sides of his
face the same size.
8. Lightly sketch the top and
sides of the upper eyelids.
Note that the tops are along
line CD. Use the line of
symmetry to help you draw
both eyes the same size.
Observe also that the eyes seem
far apart.

ILLUSTRATION 05-04

9. Draw a curved line to
mark the opening of the

mouth in between lines
EF and GH.
A curved line is created
when a straight line curves
(or bends). Curved lines
can be drawn thick or thin.
Note that this line is closer
to line GH than EF. Leave
space for his lower lip, the
bottom of which will be
even closer to line GH.
10. Add a tiny dark section,
on each end of his mouth
to mark the corners.


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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 5 -
ILLUSTRATION 05-05

11. Add a line under each eye to
identify the location the edge
of his lower eyelids.
12. Sketch another line under the
opening of his mouth to mark
the location of the bottom of
his lower lip.

This line is almost touching
line GH.



ILLUSTRATION 05-06



13. Lightly sketch two
V-shapes with
slightly curved
lines.
The upper v-shape
marks the place
where his hair
grows from the top
of his head. The
point of the V is at
point A.
The lower V-shape
identifies the outline
of his hairline
(commonly known
as a widow’s peak).




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- 6 -
ILLUSTRATION 05-07
14. Add the outline of his hair on
each side of his head.
Remember to measure various
horizontal distances on either
side of the center line.



With lots of practice drawing
manga faces, you won’t need to
draw the proportional lines
with a ruler. You’ll be able to
simply eyeball the lines and
distances in your mind.


ILLUSTRATION 05-08


15. Use angle lines to sketch the
positions of the top and
bottom of each of his ears.
Angle lines occur when two
straight lines meet (or join
together).

The angle lines marking the
tops of his ears begin on line
CD and are drawn upward
and outward from his face.
The angle lines marking the
bottoms of his ears begin on
line EF and are also drawn
upward and outward.




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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 7 -
ILLUSTRATION 05-09
16. Draw partial circles to identify the
positions of the irises of his eyes.
17. Draw the eyebrows.
Observe their overall shapes, and the
angles of the outlines.
Take note of how close together the
center sections of the eyebrows are to
one another.

ILLUSTRATION 05-10
























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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 8 -
18. Draw a long thin triangular shape (the pupil) inside each iris.
19. Add two comma-shapes as the nostrils of the nose.
20. Lightly sketch the texture of the hair with curved lines.
Watch closely the various directions in which the lines curve. Also, remember to keep your

lines very light by applying very little pressure to your pencil as you draw.
ILLUSTRATION 05-11



























Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may

not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 9 -
OUTLINING AND SHADING WITH HATCHING
In this section you discover all the fun parts of this project. You first add more details to
Kobrah’s face and hair, then outline the drawing with nice neat lines, and finally add some
hatching lines. Anime cartoons tend to be rendered with thin neat lines. Keep a pencil sharpener
and sandpaper block handy so you can easily keep your pencil points nice and sharp.
21. Erase your proportional guidelines, and redraw those sections of the sketch that have
accidentally been erased.
I softened the angular sections of the jaw and chin by making the lines more rounded.
ILLUSTRATION 05-12 ILLUSTRATION 05-13












Drawing symmetrical faces and heads becomes quite simple when you’ve devoted
lots of time to practicing this skill. A couple of helpful hints include:
Try rotating your paper and looking at your drawing from different perspectives. This
little trick often allows you insight into the problem areas.
Looking at the reflection of your drawing in a mirror will also help you to see areas in

need of fixing.
22. Use your kneaded eraser to lighten the sketch lines of the hair until you can barely see
them.
Pat the sections gently with your kneaded eraser. Refer to the drawing on the next page.
23. Take your time and carefully redraw the hair, paying extra attention to the curved
lines which outline its perimeters.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may
not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 10 -
ILLUSTRATION 05-14


































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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 11 -
24. Add three strands of hair growing down onto Kobrah’s forehead.
Note that one of the three strands is large and the other two are smaller. Also carefully
observe the directions in which the lines curve.
25. Use your kneaded eraser to gently pat all your sketch lines until they are so light that
you can barely see them.
ILLUSTRATION 05-15

























In the final steps of this lesson, you add more details, and outline the entire character with a
freshly sharpened dark pencil such as a 2B, or fine tip black marker. From there you may even
want to add color to your drawing; you can color only the eyes or add color to the entire drawing.

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may
not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 12 -

26. Outline Kobrah with dark, neat pencil lines or a fine tip black marker.
Take note of the small sections of the pupils of the eyes that have been erased to make
room for the highlights. Adjust your drawing accordingly.
ILLUSTRATION 05-16































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- 13 -
27. Use a 2H pencil to very lightly map the hatching lines on the hair, ears, face, and eyes.
The light source in this drawing is from the right, so the shadow sections are mostly on the
left. Light source is the direction from which a dominant light originates. The placement of
this light source affects every aspect of a drawing. The light source tells you where to draw
all the light values and shadows.
As you become more familiar with drawing cartoons, you may no longer need to draw your
lines lightly before you finalize them with a dark pencil or marker.
ILLUSTRATION 05-17




























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- 14 -
28. Draw the hatching lines with your dark pencil or fine tip marker.
Take note of the top sections of his hair, keeping in mind that they need to be filled in very
dark later. Don’t forget to draw the outlines of the highlights in his eyes. If you are using a
pencil, keep it very sharp.
ILLUSTRATION 05-18






























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not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.
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- 15 -
29. Fill in the upper tips of his hair, his eyebrows, and the pupils of his eyes very darkly.
30. Add hatching lines to the inside sections of his nostrils.

31. Darken the outlines of his upper eyelids.
ILLUSTRATION 05-19






























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- 16 -
ILLUSTRATION 05-20



If you wish, you
can add color to
his eyes with a
fine tip marker
or colored pencil.
You may even
want to try
adding color to
the hair and face.













ILLUSTRATION 05-21








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- 17 -
BRENDA HODDINOTT - BIOGRAPHY
As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda
Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk
pastel, charcoal, conté crayon, and oil paints.
My philosophy on teaching art is to focus primarily on the
enjoyment aspects while gently introducing the technical and
academic. Hence, in creating a passion for the subject matter,
the quest for knowledge also becomes enjoyable.
>Brenda Hoddinott<
Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She
developed strong technical competencies with a personal commitment to self directed learning,
and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a
self-educated civilian forensic artist, numerous criminal investigation departments have
employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police
departments. In 1992, Brenda was honored with a commendation from the Royal Canadian

Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic
Artists International”.
Her home-based art career included graphic design, and teaching recreational drawing and
painting classes. As supervisor of her community’s recreational art department, Brenda hired and
trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda
chose to end her eighteen-year career as an art educator in order to devote more time to writing,
drawing, painting, and developing her websites.
Drawspace
incorporate her unique style and innovative approach to
curriculum development. These sites offer downloadable and printable drawing classes for
students of all abilities from the age of eight through adult. Students of all ages, levels and
abilities have praised the simple step-by-step instructional approach. These sites are respected as
a resource for fine art educators, home schooling programs, and educational facilities throughout
the world.
LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT
Drawing for Dummies (2003): Wiley Publishing, Inc., New, York, NY, this 336 page book
is available on various websites and in major bookstores internationally.
The Complete Idiot’s Guide to Drawing People (2004): Winner of the Alpha-Penguin
Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN,
this 360 page book is available on various websites and in major bookstores internationally.