Hey there, and welcome to my tutorial about how to draw books! The plan for this video is to show you three
different versions: A closed book, an open book, and a book with
it’s pages scrolling in the air. All of these books will also be in different
book-binding styles. Old, modern, and Japanese. Additionally, at the end of the tutorial, I will show you a special drawing with a very
detailed book, of which I am actually kind of proud of. Which is a rare thing. Ok then, enough of just talking! Let’s start drawing! Thank you! So I’m going to use tools and techniques in
order to draw in perspective, like vanishing points, measurement points,
and so on. It is not necessary, but I still want to show
you a clean result. And I think it is still good to know. If you want to learn more about how to draw
in perspective, I actually made a whole series about it. So, I’m going to choose this here as the starting
point, and then measure 1, 2, 3, 4, 5 6, 7 8. And then over here 5 units. So this here will be the length, and here
the width. And also 1.5 for the height. Quickly connect these with the measurement
points, and then simply draw the whole box shape,
like so. So this is the basic shape of our closed book, and we are going to add more details. So this here is the back, the spine of the
book. And I want to add some roundness to it, by simply drawing these curves as an indicator. The cover has a certain thickness that I also
want to illustrate, right here. As does the spine. There is going to be a gap between the edge
of the cover and the pages. So we leave some space over here. Then this corner of the pages is also rounded, and we just hook around. I want this book to be an old book, and back then they used techniques that we
don’t use anymore. Let me actually teach you some basics about
book binding, and then you will understand better. Ok, so I have a booklet here that I made, with the help of a very nice friend of mine. Even though it is fairly simple, books basically use the same methods, among
others. You take the pages that you want, hold them
in half, punch a couple of equally spaced holes in
the middle, and sew them together. Books just take it further, by having several of these booklets stacked above each other, and an extra support so that all the pages
are held together nicely, without them shifting around. That support typically is either glue, or
more sewing, and utilizing some extra strong cords. Then there is of course the cover for protecting those pages, made of wood, cardboard, or some other relatively hard material. The book that I am drawing is supposed to be a very old book, maybe ancient. The go-to method back then was to use cords to hold the page stacks together. They did that by sawing ridges into the backside of the page stacks, so the cords fit in nicely, and then simply sew them together with the pages. Those cords would also hold the covers. Over all of that a singular piece of leather
is stretched and glued on. And so a typical thing you normally see are
those mounds those “bridges”. Those are hiding the cords underneath, which hold everything together. And so we also want to add those bridges,
those mounds, that stand out, to our book. So the first one is going to be relatively
close to the end here, and I’m drawing this line that I also want
here on the other side, with the same space. In order to do that in perspective, you can
just simply find the middle point of this whole rectangle, and then go over here, the top or the bottom of this line, go through the middle, and here this intersection is where you draw the other line, as simple as that. And then I use some arbitrary width that I don’t really worry about too much, and those are going to be those bridges. I want them to follow the same curvature of the spine, and therefore draw these curves here too,
as an indicator. Ok, this is the very basic structure of a
closed book of that kind. Let me switch to the version that I already
prepared beforehand. Alright. Not very different so far. However, I added a bunch of extra details to make the book look more interesting. Various patterns pressed into the leather, metal pieces here and there… You can decorate your book however you want. There aren’t really any rules about it. And here is the finished version. I did a little experiment and tried to paint
it without outlines. Not my favorite to be honest, so the next
drawings will have outlines again. In order to make sure the debossed patterns properly stick out, make sure that you add plenty of highlights. Embossed patterns would simply be dark, with maybe some highlights at the edges, depending on where the light comes from. As always, in what kind of style you draw
your book in is completely up to you. And so I will move on to the next drawing. So the next one is going to be a modern book, opened at the middle, and lying on a flat surface. So we are choosing our starting point again. And here I’m just going to do my measurements. And this here is the middle, right where we
have the book opened. Here we have the side of it. And I’m also going to add the height, which this time is much lower. So what I also want to do is, I want to measure the height, left and right from this middle point. Then quickly connect everything. And so this is our basic shape. A bit more complex than the previous one, but still not that bad. And something else I want to do is, I want
to draw a line right here, connecting those two lines, and has a small gap to the bottom. And now I’m sketching out the rounded spine, right here, that lies on the flat surface. So here we have those corners. They are not all the way rectangular. They are just going to face this way still. And then connect those corners with the corners of the box. And those are going to be the covers. So we add some thickness to it again, right
here. And the same for the spine too, of course. What you can often see is, right here at these
corners there are some little ridges, in order to make it easier for the cover to
bend. And here is just the side of the cover, plainly following the vanishing points. And so you can see that the middle of the
book is slightly elevated. Now once again we want to leave a small gap between the edge of the cover and the pages. And so I’m going to sketch it out right here, and draw it across, like so. So those corners here will be where the pages
start. A special thing that modern books have is
a hollow back right here between the pages and the spine. It is normally made out of simple, folded
cardboard, and its purpose is to make it easier for you
to keep the book opened, and also give it more stability. So here we would have the end band, or the
head band, and that little woven string’s purpose is
simply to also hold the pages together, and to make it easier for you to pull out
books out of shelves. And here I’m drawing these lines as indicators of where the pages would lie, but it isn’t
that simple. Let me show you how the head band, or end
band, and the pages are bending when you open a book, by using an actual book. Alright, so here we have a large book, which is perfect for this demonstration. While it is closed, you see that the back
isn’t hollow yet, and just neatly follows the curvature of the
spine. I open the cover… I’m sorry Hokko~ And you notice that already a few of the top pages are eager to unfold. When I flip some pages, you see how strongly those are curving up. There is always this kind of tension that forces the pages to curve up like that. One of the main purposes of the rounded spine plus the hollow back is to reduce that tension. A book with a flat spine and all the pages
firmly glued together would constantly try to close itself. It can’t help it. And so what you often do is bending the spine, so that it keeps open without holding it the
whole time. As a result you get those marks at the spine. It is not quite optimal, but that kind of
book binding is simply cheaper. So, let us flip some more pages, and pay attention to how the yellow end band
is curving. It always has some kind of peak right where you have the book opened. The spine in the meantime doesn’t change
its shape all that much. Therefore it has to roll away on the surface,
giving in to that tension. And here we are at the middle. The end band forms some kind of hill shape. A flat bell curve. When we look at the pages, you can see that the top pages are curving
up. And then you progressively have thicker and thicker groups of pages, until we get to the biggest chunk that still
stays relatively flat. Well, almost, because you often still have
a small gap between the bottom pages and the cover. All of that is because of tension, friction
and gravity. It is surprising how much physics comes into
play for something as simple as opening a book. And so what we are going to do, is, we decide for a peak right here, and then still keep it somewhat flat here
at the top, and then curve around and converge towards those corner points,
right here. So this part will be left hollow, as you already
know, and this end-band is going to have also a
certain thickness to it. Sometimes they also have patterns, and we
can include that too. And as for the pages, we want to leave this
small gap that we saw before, and then converge to this
line that we drew, all the way over here, until the very end. So this half of the page is still lying somewhat flat on the cover. And this edge here is simply following the
perspective. There is nothing special about that. Now what you want to do, is, here is the middle point, the peak, and we separate it into several stacks, several groups of pages. And so here we would have the biggest chunk. And we follow the same curvature from before, in order to keep the thickness constant. All the way until the very end. However we are not drawing straight up, but those pages are going to be closer to
the middle, because you see, there is a distance right
here so we take that into consideration, and draw this line sloped. Then the next group. We leave out a small gap, and then slowly
converge to the bottom. Keep the thickness once again constant until the very end. And then give it a slope here. Also, see that I left a gap here? This is also important, because these pages travel a longer path right here because of this gap, which will
be shown here. And another one. They’re getting thinner and thinner, while also curving more and more. Can be helpful to indicate the darker areas, otherwise it will get a bit confusing with
all these curves. And then maybe one last singular page, that is curving all the way up, like so. And here at the side, again, they will only
follow the perspective. There is nothing special about it, so I’m
going to do this very quickly. And you basically do the same thing on the
other side, and try to make the back follow the same curvature as the front part. I’m not going to finish this sketch, because
that would take way too long. Instead I’m skipping right to the prepared
sketch. Alright, here we are. Also looks a bit better in my opinion. Ok then, let us take a short look at the finished version. Not really much to say here. I kept the pages blank, simply to save time. However the special drawing that I have been talking about will have some filled out pages, which I am
very fond of. But before that we still have to do the third
drawing. So the last one is going to be a traditional
Japanese book. They don’t have hard covers, and they are just pages, that aren’t folded,
stacked above each other, and stitched together at one side. So I’m choosing this point now as the starting point. Above the horizon line, therefore we are looking from below. And I’m doing my measurements again. 6 over here, 4 over here, and then just 1/2
down, and 4 up. And drawing the lines. We’re starting with the bottom here, which is the side that is stitched together. Over here I’m drawing this shape here. And I want to copy this square over here to
the other side. There are other ways to do this, but here
I’m finding the middle point, and here through this intersection I want
to draw this line, and this is how I copy it over. I also explained it in my perspective videos. Then I want to draw this over here in order
to have this kind of box shape. I admit, it is getting a bit confusing now, but I will explain everything, and also, again, you don’t have to do all of that. There are simpler ways. At first I want to focus on this side here, where we have the strings that hold the pages together. What I do is, I’m going to extend this rectangle here a bit further in order to make it easier to
measure everything. I am going to draw a line, again, relatively
close to the edge right here. And I’m going to copy it in the same way as I’ve already shown before, like so. Ok, I have this copied now over here. Let me also draw this line here. And now I want to separate this rectangle
here into 3 different parts. And we do that by drawing at first here this
line from the middle, and then connect those corners with this line. And now this X that is drawn here, in the
middle of this inner rectangle, the intersection between those X lines and those lines that we just drew, are going to be the spots where we draw the lines that separate the rectangle into 3 equal parts. It’s just that simple. And so we can use that in order to draw this side here. There is a certain thickness once again. We want to keep that in mind. And we draw the line here for the strings. And I also want to give the strings some thickness too, in order to make them stand out even more. Right across here too. And now at these spots you normally would have the strings go into the pages, and have them intersect, and be woven together, and so we want to indicate that too. And now to these squares. And I drew them, because I want to draw half circles. If you watched my video about how to draw
circles in perspective, you will understand a bit better. So we are drawing from these corners. At first relatively flat, and then curve around. Here the same thing, like so. Dropping down right here. Same thing over here too. Relatively quickly, so it could be a bit sloppy, but of course the prepared version is going
to look better. Now we have to imagine how the pages are going
to bend, and I want to draw them in a way that the
pages are going to be just flat right at the top, those that are
at the middle. And those that are at the sides are going
to bend the most. And so in order to take those pages that are at the sides here into consideration, we would simply subtract a little bit from
the circle right at the sides, it has a curvature, but it is not the same. It curves a bit less, therefore it is converging with the circle
right here at the sides. We do the same thing over here too. Doesn’t have to be perfect and exactly the
same. Otherwise it will get too crazy. It is already crazy enough. Alright, and next I want to decide where I
want to have my pages. Here at the bottom I keep them relatively
close to each other, and then space them out more and more. Curve around once more, and then the density will be higher once again. Draw some lines across, simply connecting
those curves, as simple as that. I’m just going to do this for the pages that
are at the front. And I also want to add some lines here too, that connect with the middle. And those are going to help us to get the
curvature right. Alright, so we are freely drawing again, and I’m curving up over here, so this is the strongest curved page. Relatively strong right here, and then going
right back to the middle. And they always go back to the middle, like
so. None of these lines should ever intersect
with each other. You see that the curvature is going to get
flatter and flatter. And an indicator of how much they are curved would be how big of a gap there is between the straight line here, and the curve that we are drawing. So here we have quite a strong gap, and then it gets flatter and flatter. Here there is barely anything, so we keep it relatively flat, as I have already described before, and then curving stronger and stronger once more. And then you draw these curves on the other side too, which can be a little bit difficult, but you don’t have to be perfect about it. I am not going to draw all of these pages
now. That would take too long. So let’s switch to the prepared sketch again. So here is the complete sketch. You see that it can get quite confusing when trying to draw things like that in perspective. Would I recommend it? Maaaaybe, if you are familiar with how to
draw in perspective. You can still draw freely, and with what I
have shown you, you can make the pages look more authentic. If you have the choice, I highly recommend using various different colors for sketching,
like I did here. Imagine everything would be the same color. So confusing… Alright, let’s move onto the finished version. And here we are. Again I didn’t fill out the pages to save
time. Shading those pages was quite some work, with all the angles and drop shadows to consider. Alright, and now… I am excited to show you this drawing. Here it is! A Yoshi Story book, with all sorts of references to the games Yoshi’s Island, Yoshi’s Story and Yoshi’s
Cookie. They are having a tea party with the Laura
Shigihara, also known as Supershigi. If you don’t know her, she is an incredible videogame music composer, videogame developer, and… she loves Yoshis! So I just had to include her in her Chibi-version, designed by Emmy Toyonaga, one of the amazing artists who worked on Supershigi’s game “Rakuen”. Speaking of “Rakuen”, I also include a
character of that game. Of course Saitou-san had to be in it too. I love the surprised Saitou-san, but also
when he is smiling~ In total I am very happy how this drawing
turned out. Which is good, considering how long it took. Just look at this mess! Even though I utilized a lot of useful tools
of Clip Studio, drawing in perspective still can get convoluted very quickly. And to give you an idea of how bad I am at estimating how long drawing something will take me in advance: I thought it would take me about 2 days to
finish this picture. It took me about a week in the end… But I’d say it was still worth it! By the way, I did actually make a Yoshi drawing tutorial years ago. Barely anybody watches it, but I still like
it, because… dinosaur friend~ So you see there can be quite a lot to drawing something so seemingly simple like books. I also have to say that doing the research and learning about the history and techniques of book binding was fascinating. I watched way more videos about that topic than I needed to. Watching artistic craftsmanship is something I love doing after all. Well then, how are you going to design your
book? It is your turn to draw now! As always, if you have any questions or constructive feedback, then please leave a comment down below. And for more information and links please check out the description of this video. There is quite a lot in there. Alright then, have fun drawing!