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With practice.

>>7946444
Okay I did it, now what?

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>>7946450
You are now as good as me. I have nothing left to teach you.

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>>7946450

>>7946442
Don’t

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>>7946442
i wish i knew. it feels like the way people teach the manga head is not how mangaka actually draw it

>>7946442
We have a fucking general for this
Anyways, the same way as everything else. Pick up references of it that you like, copy it, then try to draw it from memory afterwards. Repeat until satisfied. Little boys in Japan start off by copying entire manga that they like.

>>7946442
>>7902209
I will make you suffer, you'll regret this you worm

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>>7946442
Learn to draw a body on her. I think you're actually already at the point where you can begin to learn to draw bodies. Don't get stuck on the head, a lot of people want to learn to draw cute heads first but they don't know that it can already be cute if it's attached to a body. Here's an example.

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>>7946750
Ah whoops, that's the image where I add just a shadow to her eyes, I think that's the biggest 1 change you can do to the face to make it cuter, and it is just a single streak to make the line on the top of her eyes thicker. This is the version which I don't touch up her eyes at all.

>>7946620
>>7946442
Draw the way that Japanese kids learn how to draw. Trace, copy, and draw from memory. Break Rei down into simple shapes and forms.

The real secret is to grind lots of shapes and forms before you draw Rei. Make sure you're doing continuous line drawings! No chickenscratch!

>>7946750
Yep, what matters more is being able to draw a simple body first. If you've ever seen how very young children in Japan draw, they focus on the entire body first.

>>7946442
The basic stuff:

>do gesture studies of Rei
>do blind contours of Rei
>break Rei down into simple shapes and forms
>trace Rei
>do a negative space drawing of Rei
>draw Rei with your non-dominant hand
>use the envelope method on Rei
>flip Rei upside down and draw her
>look at Rei for increasing periods of time, then hide her and draw from memory, then take her out and draw her while looking at her
>get a figure/model/toy of Rei and draw her

If you REALLY want to get good at drawing anime, you need to go the extra mile:

>study old school Disney comics and cartoons
>live and breathe manga and anime, you need to constantly be reading manga and watching anime
>learn a little Japanese
>draw for at least 2 hours every weekday and draw for at least four hours on each day of the weekend

>>7946442
You practice drawing anime. Take your favorite looking anime, and try taking a good looking still frame and drawing the figure, and replicating it without tracing. Map out the body proportions. Notice the line weight. Go from there.

>>7946620
>the way people teach the manga head
Do you have an example?
>how mangaka actually draw it
Do you think you might be dismissing valid answers because they don't fit your assumptions?

>>7946788
>Do you have an example?
Pretty much any "how to draw manga" books or YT videos
Here's an example of an artist I like using a method to draw the head that I haven't seen outlined in a guide:
https://www.youtube.com/watch?v=uhfofqoiUAg

>>7946861
Okay, I'm not watching an hour long video, but just based on scrolling through it, I see a basic ball and cross construction, with a larger sphere for the head. I've definitely seen that in some books that teach "kawaii".
Don't take this as a personal attack, but you are suffering from a variant of "god of the gaps" fallacy. It's a ball and a cross. There's nothing more common than that when it comes to head construction, whether the instruction is eastern or western.
He also uses gesture for limbs, a 2 box method for the upper and lower torso, a thicker and lighter line for his under drawing. There's nothing in particular here that is unknown.
Please keep this in mind. A proper construction course isn't seeking to teach you a specific style. You should be able to learn the concepts and apply them to any style you want, adapt them to any design you want. The real gap you feel is the design sense that this artist has internalized, the proportions and ratios he prefers. Those are the variable inputs for the formula for construction.