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HOW
T0
DRAW MANGA: Super-Deformed Characters Vol.
1
Humans
by Gen Sato Copyright @ 2003 Gen Sato Copyright @ 2003 Graphic-sha Publishing Co., Ltd. This book was first designed and produced 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.
Graphic-sha Publishing Co., Ltd. 1
-1 4-1
7 Kudan-kita, Chiyoda-ku, Tokyo
Cover lllustration:
1
02-0073 Japan
Gen Sato
Book lllustrations: Gen Sato and Asami 0gasawara Assistance with Robotic lllustrations: Kanta Hino (Nippon Engineering College)
original Book Design: Main tiue Logo Design:
Masako okubo
Planning Editor:
Kuniyoshi Masujima (Graphic-sha Publishing Co., Ltd.)
HideyukiAmemura
English Edition Layout: EnglishTranslation
Shinichi lshioka
Management
Linguafr6nca, lnc. (
[email protected])
Foreign Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd,)
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise,
wi$out the prior written permission
Disfihned
.,@xne 2+1
of the publisher
by
Co., Ltd.
02 ltaka-cho, Kawaguchi-shi,
Sdana &P{022, Japan
PtrE rFa
E+* lllEtr
+81 {0H8-259-3444
scesol4aime.com
[email protected]
furrofrE;
A.S.d m04
Gft#amfi*il@l
n-n
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D EGIGI
miE
Co.,
tld.
of Contents
o lilmambr
Chapter 4
1
-' : : :
Super-deformed Character Odds and Ends
"Super-deformed Gharacters"?
llultmt El"E
Super-deformed Character" ...,...,................ 6
- -?,r= -,:es between Super-deformed Characters
:i-: ::;r -
stic
Drawings
Let's Compare! From Realistic to Hyper-Stylized .... 1 14 Special Bonus-Mix and
.........................
6's*:c - g Characteristic Characters .....,....,.....,.....
1
I
Match
Afterword
........122 ..................127
0
ln-Depth Look and Short Lesson Iilimmpte,r
ln-Depth Look The History of Super-deformed
2
Characters
Super-deformed Building Blocks: -rue,Face and Body ;i-xnex'-def
r
ln-Depth Look: Meditations on the Name "Moe" ...... 18
ormed Character Building Blocks
-;l a fuce!
Short Lesson:Are the eyebrows more expressive
1
...............20
--' i.is Bring Life to the Character.........................21
......,.,,,.... -'; l: e. Moring Mouth. ,*:sias S:Ck
--* las -ii
0ut
..................27 ..,..,.,..,.........
Reflect the Artist's Pers0nality....................
31
37
ri_r 3S and Distinctive Si1h0uettes........................ 41
-,ir : i'iangle to Lay
::,-:
out the
................. 16
Face
,,.... 46
cf Caution in Drawing Super-deformed
:-":-:ers......
.............. 48
than the
mouth?
...........26
Short Lesson: Giving the Face 3-Dimensionality, Even
with Minus the Nose ................. 30
ln-Depth Look: What Do Those Lines and Dashes on a Character's Face Represent?.,... 36 ln-Depth Look: The lmportance of the Silhouette
L..
43
ln-Depth Look:The lmpoftance of the Silhouette
11....
44
Short Lesson: Drawing Non-Japanese Characters..... 50 ln-Depth Look Changes ln Facial Layout According to Age............................... 51
S,,Eer-deformed Character Building Blocks 2 uta
-:ining
l*,"es of
Balanced Pr0p0rti0ns............................ 54
Representation
......,.............55
:-:,r,c rtroning Arms and Legs ................................... 60 :,-
:e.deformed Character P0rtraya|......................... 62
ln-Depth Look: Super-deformed Characters
at High and Low Angles ...................52 ln-Depth Look: Shading Super-deformed Characters.... 53
Shoft Lesson: Mismatching to Create lndividuality.... 58 ln-Depth Look Modifying the Headto-Body Ratio
to Poft ray M0vement..,...................... 64
C,tmpter 3
ln-Depth Look: Super-deformed Robots ................... 86
$uper-deformed Anything and Everything
ln-Depth Look: Super-deformed Characters and
-r,a'acter Design 0n-10ca1i0n ..........,..................,,,. 66 !'-:er-deformed Characters and Stylizing Clothes..... 74
i - :er-deformed Characters and Backgrounds.......... 80
--)epth Look Super-deformed Characters
and
Hand Stylization ................................ 90 r:s ng Super-deformed Characters.......,.,.....,........... 92 I
S,
mr-deformed Character Gallery ..........................'l 02
Hand Stylization ...............,................ 90
Super-deformed characters are oodles of fun!
soffi
Hello there! What genre do you visuallze when you hear the phrase "stylized
characters"? Do you picture characters from gag manga (humorous mangQ? 0r do you picture corporate promotional characters? Perhaps you picture characters from parody manga, such as in games. The phrase conjures up any number of categories in our minds. However, a little statistic that may come as a surprise is that gg% of all manga
sold in Japan contains "stylized characters." Although not named as such, manga characters are exaggerated expressions of the human form. Consequenfly, if a non-Japanese were to declare that absolutely all of Japanese mangaleatures stylized characters, there would be no denying it. The real point is that we just do not see humans with eyes that big or with stars in them,like we
doin shoujo(grl) manga(wry laugh).
while the characters discussed in this book are stylized, they do not cover all modes of mangafound in Japan. Still, I would like to discuss ultra-stylized characters that do require heightened stylized techniques, also known as "superdeformed" or "chibi characters." Perhaps you do not have a complete grasp of what I mean when I bandy about
the phrase "super-deformed character." For simplicity's sake, in this book t use "super-deformed character" to refer to compacted human characters stylized to 1:2 to 1:4 headto-body ratios. Contrary to what your first glance might imply, super-deformed characters are exceptionally versatile and lend themselves to various situations. consequenily,
their avenues of use are endless. We have all seen them in mangaand anime. They also appear in commercials, as corporate mascots. We can use them in everyday situations, such as decorating a letter with a super-deformed character or portraying your family in a hyper-stylized way. Make an effort to learn how to draw super-deformed characters, and discover new fun ways of using them.
Chapter
1
o ooo&o What are " Super-deformed Characters
"?
This is a "Super-deformed Character"
#O+.; Female Characters
'94 @. l'l
--/
lt\
Male Characters
ipixeding :*$1yi{ril]siFdlsllqry$B$r€|$tcedils
page,
lyands and anns fot:male charac{ers come in a
wide variety. Naturally, degrees and methods of stylization &at allow for a successful visual balarce are preferable. Hsrever, in the case of some aftlets or when suggesting emotional displays, fte intent of Ure drawing is occasionally better conveyed by exaggerating disproportions.
now we are ready to discuss abbreviating the human form, something only done in manga design. ^ tacl, manga, itself was originally a world of "abbreviation." We find in manga renditions of the eyes, -ands, and feet not found or simply not feasible on real-life human figures. I have never witnessed a ,',1ell,
langa artist present a life-like rendition of the eyes (chuckle), Consequently, those of you who have copied langa or produced your own works, as well as those who have read manga will find abbreviating easy to -nderstand. lt is my goalto see you deepen your interest and enjoyment in character stylization and rcorporate it into your work or everyday drawings.
ifferences between Super-deformed Characters and Realistic Drawings D
ooo
iirere I will illustate (literally) the differences between a super-deformed and a realistically drawn
cfnracter. Please note that use of the word "realistically" does not necessarily mean a figure drawn in heightened realism or in the style of realism manga.l just use it to mean your everyday, typical Dick and Jane manga character. Naturally, the most blatant difference would seem to be that of height; however, merely by drawing the character shofter and a little simpler will not create a super-deformed character. I will now discuss handling the various body parts and figure proportions to demonstrate my point.
Super-deformed Character
@.4' \ \r-/ lt
Character
llr
To portray a character in motion, use a 4:1 head-to-body
ratio
I
Sefring aside discussion on stylizing characters for now, beginning aftists like yourself often encounter ifficutties in achieving a satisfying pose when trying to draw a character in motion. So, what should you
ro iln such circumstances? A popular technique is to decrease the head-to-body ratio (i.e. increase the rurnber of heads to body). This makes it easier for the body pafts to move at their joints, allowing you to ::'mte all sorts of poses. I discuss this topic in depth in another chapter. Please visit that chapter for more nf'nrmation.
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Good
Not good
Audaciously stylizing the character in that super-deformed way results in a well-proportioned super-deformed character.
Developi ng Characteristic Characters
*o*
We humans have many distinguishing features. lf you, the aftist, identify these features and exploit them
when drawing super-deformed and stylized characters, you will successfully create distinctive characters. While having a model or reference figure in front of you ceftainly helps identify these distinguishing features, picturing an imaginary person in your mind and then searching for these identifying features will also make character design easier, An artist's mental reproduction of a model comes out most strongly when finally put to paper or canvas, s0 you will create a more satisfying character if you stress your own impressions of the model's physical
appearance rather than looking for outside sources of information or seeking others' opinions. You are the one who ultimately gives birth to this character, who is supposed to be imbued with appeal, Therefore, you should be the one who knows this character best.
0f course, even with a model or reference picture on hand, different features will strike each artist in a unique way. Therefore, you, as an individual artist should emphasize those features that have the greatest impact on you personally.
Ref.
"Cute"
"Cute" Nose
t
L.
o
"Cute"
Assorted Eyes
rv
m
Body Bu ilds
;to*
One would also expect to find many people who have distinctive builds, even though they may lack
fdimyncratic facial features. Stressing idiosyncrasies in their builds and adjusting the face to match
ffie body will enhance your character's distinctiveness.
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Builds
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Stick 0ut
ISES
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for Distinguishing Facial Features
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in a stylized manner often disregard noses. However, there are around with distinctive noses, and you, the artist have a il, 'r -I :. io exploit such traits or risk your carefully planned stylized r'riiiiilr-1r*::.a : s ng f lavor. The nose is a superb feature for suggesting the ti]iiiitr':1r,,-',:'- , :,ccupation (e.9. a police inspector in the style of 0samu Tezuka, ':"* :r'ivate investigator, etc.), projecting a friendly impression, or ul\il|ll'::'-; : :istrustful air. Noses are wonderful for portraying a character. Llut"r
r,*,r,r
:
e'lnning
:*':
*i*ehte Noses
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(a a
Detestable Nose
nOSeS pfOjeCt
t:l: -:'ession. Large, angular noses seem eerie and strike the viewer with fear.
!lorts
Easily Portrayed through the Nose
C)n/H
A\4 O/
,C-)'"
/
The Talented Boxer's Nose A small nose suggests this boxer is good ai avoiding punches, indicating this guy s got skills.
\AV w v,
Small Noses Use small noses for women and girls to give them a feminine look. Conversely, large noses project a stronger,
masculine air.
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Female character noses are typically smal! and charming.
Symbols Representing the Nose Like the eyes, the nose is a highly individualistic facial feature. When drawing a face, the key is to have one overplay the other. Drawing both equally expressive would cause a visual conflict. The two features would vie for the viewer's attention, canceling each other out.
-€
D
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i ;rr?55inrg with the Nose -,tsi to€s
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not actually move, it does change color and emit
:,-,lr fiuids. Exaggerating these qualities will allow you to express ::r' :rample, add a little red on the upper part of the nose to suggest rrlrrlltilriritil,i
illllllliliilllrr'"lilll:i:'r:
cr awkwardness or red to the tip of the nose to underscore :r'-a?a1:' rs in a drunken state.
lllllluliuu:rrriff[s;:;-.-t
I
rlririilulnL
llt 1ti -trh,r,E itave been discussing the nose's outer contours; however, like lll, r dtur the nose has other possibilities of poftrayal.
:i:s
,,"''t[ 1 luurur
a
:'ire's
color. Noses tend to redden, depending on the situation:
ilq =:: embarrassed, drunk, fall down and bump our noses, etc.
.:-i
need to distinguish between the different reasons for the nose "-,: ,,,nen stylizing this phenomenon, 0r your nose will appear awkward. , *r*'*,-rr. +Jris will also change when the nose is drawn exaggeratedly rllrrrllrLh :" :.ra I Perhaps these points are better explained through pictures Iil
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rl :i:.-
iiillllll"
il
-
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for whatever medical reason, noses are often spotted with pimples ,]ti|lil: it is because the nose pores, which are larger lisible than those on the other facial features, tend to secrete in liillrnll iilur:,LF ::-:lnts, inviting bacteria to enter. Whichever the case, blemishes can ,r,:1: r,ihen stylizing the nose to draw out the character's individuality. ,lLL:i:r'r
t-rr:,r
-:r:
: emishes. Perhaps
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l
Nrr"
{ :,i: ctions of runny noses
ltmi,,
lr '* ,,
"
have been disappearing trom manga of late,
i,? a standard way of suggesting childishness or childlikeness. Take care
{ :,erdoing a runny nose could just make your character look like a
-rI
:r.,ggesting that a character is angry or ready for a fight, the nose is
::picted snorting. There is the tendency to give snofted air a smoke-like
\l\
i,. 4 it were a tailpipe emitting gas, which is why professional artists rtrl,- i so will exaggerate the nostrils, showing the snort broadening out from ll l$
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oo
D,h
to o-
the
Fi
Drunkenness
tt
lt
Short Lesson Giving the Face 3-Dimensionality, Even with Minus the Nose
..'o#
Artists often omit the nose when drawing stylized characters, but this is not necessarily always the case, since many noses have personality. While characters without noses are perfectly acceptable, please note that there is a large difference between characters without noses and characters who appear not to have noses. Characters without noses become distinctive
personalities owing to their lack of noses. Consequently, they should be drawn in profile without a nose, so take extra care to ensure that such a character clearly has no nose in profile. ln such cases, you will still have to give that
a
,A
,@
@ /tl
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character's face 3-dimensionality. When drawing a head that is roundish all over, be conscious that what you are drawing is not the same as an actual human skull.
fi\ lf the nose is not visible from a front view, then omit it from the profile as well.
EL
^\
lf you have given proper consideration toward making your character 3-dimensional from all views, then you should be able to rotate her.
@
*rhrrrp
Agile, Moving Mouth
300
;6 1p* m;a ifeafures, the mouth changes shape the most owing to the surrounding muscles. As you are ]r;inaflS uSe wOrdS tO COnVey OUr wiSheS tO OtherS, and the mOUth engageS in mOVement .rltttflnlnflitlmtflfllt]t{s!'lls occurs. Accordingly, the mouth takes on many forms and is a prime feature for suggesting illllllr
,il$illlttllllilllll 'rult8
lllrrrmn
mmmrirril 0r agreeability of a character.
mmouthS)
w@ ,l,noss-Sectional
Vi
ew ndlv Features
1 . Lips
2. Teeth 3. Tongue 4. Throat
Assorted Mouths
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g
g
Lower Teeth + Tonque Noi used much other than for special circumstances
Teeth Not exclusive to monsters, these may also be used to illustrate a character's personality.
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_
Teeth
Decaved/Missinq Teeth + Used with children and comical characters
,+
Used to add to a character's distinctiveness
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Teeth
!
sror-.ltar rtay of rendering he mouth used to *'mfi'*fis:E -r:9 nhen smiling. etc. t
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M
Tooth
Used to add to a comical character's personality
lfr,uryn*rs-
r'ng
Unique Mouths
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Assorted Stylized Mouths
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Let's consider how to render the individual mouth components. When imagining these three: the lips, the
teeh, and the tongue, think about what would catch your attention about the mouth if the character you are about to draw actually existed and you were to sit faceto{ace with her.
fie teeth catch your attention? 0r is it the tongue? The picture in your mind's eye will become critical $,t,en you draw the character. ln pafiicular, the lips are a flexible feature, and consequently can take on a 1r-rrber of shapes. Naturally, physically impossible shapes are also acceptable in the case of stylized ihiaracters. However, care should be taken to avoid overdoing reactions, which could result in destroying Do
I'e
xtsce s or
figure's proportional balance.
:ae :etli airso ofier a multitude of possibilities. Artists have the tendency to go into autopilot when creating ilrtimc CItmracters to draw a single line underneath the upper lip and call it quits. However, teeth are not rlrffi EEtF- frb have incisors, canines, molars, upper teeth, lower teeth, etc.
[ullinrfi
[ombinations to Boost Expressions
Standard Smile
P# * e ride mouth
means plenty of expression!
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Now looks happy
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Now looks -persuasive
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In-DeFth What Do
childho0dl
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v
Lineo
(daoheo) on a character'g face change dependinq on Nhe aqe.
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Tne Ears Reflect the Artist's Personality
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ltfiruflfll lliilrts
litll$tilutll lilfirnmr,r"
rd'H.s who see an ear and think, "Look! That's definitely an (Artist X) ear.',
r
,:flrrrflllililmM's illtltiffit161
assume fiat the ear is the part most difficult to distinguish the neimiduality and is something to be hidden behind the hair. However,
s certainly true that the ear is not the idea body part for illustrating a :ersonality or behavior, but it is that which reflects the idiosyncrasies
4q1s .fie best.
ilmrmus Ears
D lltrtiil* Itttu
When you start out, use the ears of an artist you like as reference.
""sspect
iffi
to stylized characters' ears, there is no need to take as much care when drawing as you with a regular sketch. However, glasses pose a serious issue. You need to take care to position the
m fiat a character in glasses will not appear awkward. The ears are usually centered along the face,s rmr*'iontours.
'rmuill':
Assorted Ears
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:\e cTiriffi)
lffm Eans Are Here! Li
Not good
e@ ,ritrf,liufrs
'ave fie tendency, particularly with female
to hide the ears under the hair. Make to allow the ears' presence to be evident, rrnrurum,,r r ffiey will not be visible. nfltlruf,iffimrs.
irn*l
ffii
Good
-Hfrding Elfin Ears *rE
ears can be hidden mnlnd the hair, which alows a character conceal physical
r
:sdities from others. is a fantastic
1ls
mchnique both
ramatically and in $Dry building.
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Ear Expressions
Radar Ear
It,,
tltt
The ears are not moving body parts. As a result,
artists usually reserve elements of movement with the ears to comical situations. However, the ears' sizes may be modified to suggest that an individual is using them.
I
Dut, it looke )uof,like hio ear really did qet, biq.
On elderly characters, large-lobed ears create a gentle, kindly Iook
llllil["::i'JfH#xl,:'with illustrations, etc. Ii book targe earlobes. For some
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t
,'.i'Ji$:HlH:x';l?::,.ffi rfc-{ 'e
p
resent elderly characters.
]-. s could very welt be an
iffinole
of stylization using ;ea-r e s preconceptions to :er:ate a stereotypical look.
ri|tlumurstyles
3(tr0
and Distinctive
Si
Ihouettes
tgittilflulltltrn
mrmmfil
*rrodrfy our hair to suit our personal preferences by
umrnrmm,
i[ Wrnq
rt up.
ilffiiriililililllllllMliliimriq
lmr
,iur it[mmr*
lllllitiilimtmtrflflrM.
;
or dyeing it. Thus, the hair is a great feature for
clnaracter.
ffi ?ne hairdos of the lead characters in Ge ge ge no Kitaro,
m afld ty to devise an original hairstyle of your own.
Imorted
I
Hai
Distinguishing Characters' Silhouettes Using Hairstyles When designing the hair of a stylized character, what you should ask yourself is not how you want to tie up fie hair but rather what sort of shape (of the outer contours) you want to result. Don't worry about how to
tie back fte hair realistically to create a certain shape. Remember, the character could always wear a hairpiece or extensions.
((t1) ))
Characters cannot be made distinguishable using cololi grey value, 0r screen tone Modifying the color of a character's clothing or hair becomes meaningles in dail< settings or under special lighting. Consequently, avoid worrying about color or grey value if you want to emphasize individuality in your character design (fie same applies to screen tone).
Loolr h,-Depth **e lrnportance of thg ,
, j;=i pack to our topic...flow w0':,, - ''r.,: : :id who is approaching..from.faf,1.,..;1,;1,, lrtllt-T'r* * .':s allow uS to identi,fy':him ofiher?,.',,..,, : ; {f{lrr1r' * -: -: -ave good eyesight,andro,thgisl,b,ad,.,:' rr11'rll''r -., :all out. Stilt, moStd,'UgUse"':':,1:":",::;, ,,' * :- : - I the silhouette to-identff-y,gur,,fri9nd,;,;',. llllliil, ittt'
,tlillliulrlr
+.
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i :,:-. ai Fig. A. lf youlw9re,,as'k!d,,tsidentify,,:.,
,ilIlilr,i,,,,
- a' Iharacter arnongst$e,!.rlhouettq.9r, '':rr:, *,,,,;, ,,: - I ysu tinO yoUiAig4tg661yfi,''.'' .._ .:, .:::::. ::. . ::..:
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at the 9r0up,j'1 p'g'g:''p-ortr-aBs:this:90€s :,:;ing, but chanCesta&:&ti$0fn-e-itlme,yolt
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llllltir:
.t ',- :u draw acharacter:is,Shadow.o!:,back',
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andf emaleilchAtat,&rs?tt0.li!-n0es.are:&at'tfrey,:
Cltalaeieilq,,lA,rnais,thale probably would not convince
sifloilailsilh0Uettet.br$i,When:ttreii,silhorr
ffi
Sports-centered story
{45&
Use a Triangle
so*
to Lay out the Face
Face layouts play with our instincts depending on the particular layout pattern used. For example, the size or position of the eyes could evoke parental or protective feelings in the viewer. Well I
fien, what other etfects do we artists have at our disposal? Let's take a look at a few.
fiink you'll gain some idea looking at the figures
below. While there are differences in the eyes' sizes, more significant differences can be found in the triangle determining the spacing between the eyes and fie angle and distance from the eyes to the nose and then to the mouth. ln a glance, you can see how whether an equilateral triangle or an isosceles was used affects the character's individuality or mood projected. Play around with ditferent triangles.
Whether a face has wide spacing between the eyes, a nose positioned high or low, large or small facial features all affect how that person is perceived. However, I feel I should warn that this does not necessarily mean that the individual's personality will match this perception. Assuming that the face perfectly matches ffie impression projected or personality of its wearer is prejudice. My mug is not so perfect either and could probably scare someone into thinking l'm a felon (chuckle). At the most, what we are discussing on fiese pages is the image projected as a manga character. I want all the readers to understand this as we continue our discussion.
Faces
Mature Faces
ffi \tl,
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ery \--"/ \\r'
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I r::^ess ls Not Exclusive to Big Eyes 'rlltililurr,*
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case? There are plenty of
world with small eyes who t*.:E adorable. This would indicate same would apply to drawing trrrniliiit luiiilflr r,':ed characters. Hence, mastering ltg{:r means that you should be able rrllr lltsri:, any type of character you desire, rq11;11;611'flr*.ss of what popular beliefs might rli/lrrrlrt;lrr tflrllr,
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- emper layout makes for a delightful face 5ye Position
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i"awing the eyes around the center rather than -aoer half ol the head's outline creates a more adorable" look.
ftuare vs. Round Bounder, softer heads are more "adorable" than
squarish heads.
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Circle vs. Ellipse A perfectly round rather than oval head is cuter.
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Points of Caution in Drawing Super-deformed Characters Not everything goes when drawing a stylized character. Characters must be composed according to certain rules and must be visually comprehensible. Naturally, this excludes those cases where you intentionally raise the eye level or wreck the face's layout (only to be used in comical situations or for
Picasso-style scrambled faces). 0ccasionally, there are artists attempting to draw their characters in perspective in order to improve their look. However, adding perspective to a
/7
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character whose head is not that large in the first place requires exceptional drawing skill and in truth, is not even necessary. Avoid concerning yourself solely with the character's appearance and adding haphazard perspective.
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ffie Degree of Stylization
Character with Mixed
,p
Degrees of Stylization
* i$e symbolized noses on super-deformed Realistic Face
t,t
characters
For super-deformed characters, noses should be stylized by using highly abstracted, symbolic
shapes. lnept use of a realistic nose will destroy the overall stylization of your lovingly designed super-deformed character.
Maintain a consistently stylized look for your superdeformed character by omitting or using a highly abstracted shape for the nose.
Short Lesson Drawing Non-Japanese Characters
':offi
That one can usually distinguish the difference between a Japanese and a non-Japanese individual indicates it is possible to stylize characters' ethnicities. Use of special traits allows artists to suggest a nationality or ethnicity. While I only describe a few samples here, you will surely enjoy discovering new traits of various nationalities yourself, so I encourage you to play around. One technique I use to distinguish between characters
of Russian versus northern European extraction is to give the Russian character a hint of Mongolian. Ultimately, this decision was not based on logic but just to create a convincing air. Equilateral triangle
I give characters who are African or of African descent a cheefful disposition and make their eyes and lips prominent. 0ther characters may also be given
hairstyles or different looks that verge from that traditionally "Japanese." However, please take care to avoid drawing a character overly dark or in such a way as to project a negative impression. Such renditions cou ld potential ly become racially discriminatory. The non-Japanese characters appearing on this page are first and foremost those I personally felt were representative of their ethnicities, but please do not
misunderstand my motives. I am not insisting that persons of these ethnicities necessarily look like what is pictured.
S= v) @
lsosceles triangle
iM,rw& tortltBr{orehead, mouth, and eyes character to convert him or her into
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teehniques to suggesting age.
Preschool Aoe
to Middle-School
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'een
to Mid-
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presence as a solid. Consequently, you need 3-dimensionality l;i::ltixq$,encsraqiia,sirlid;:ei tuwing ano,gllg|g$lllqglgrpi prg&tgittiir: ne$$&Sx$l&$i?$91,$
lffitgur are maintaining a sense of im,$ullry
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Make the lit areas light. 0ther areas should be made dark.
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Maintaining Balanced Proportions
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Now hat you have learnt a little about the facial layout, let's take a look at figure proportions. Naturally, proportions bear a relationship with facial layout, so the proportions offered here are not absolute. Looking at fie 1:3, head-to-body figures and then again at the realistically drawn figures on this page, you will likely note the arms and legs are proportioned fairly similarly to those of the realistic figures.
1:3 Head-
"
Thus, if you are able to draw a realistic figure, then, given that you comprehend those proportions, you should be able to apply these to achieve a basic proportional balance while stylizing the details. However, you will need first to consider what sort of head will match the facial layout you already designed. Failing to do so will result in a character with ugly proportions.
.
lf you are going to create your own proportions, first design the facial layout. Then, devise a figure that suits the character's face.
Here, the entire figure is 3 heads
in height. Matching the shoulders' width to that of the face results in a satisfactorily balanced figure.
1:2
e
Here, the figure is 2 heads tall. The shoulder width should be narrower than that of the face. The head and the figure should have approximately the same area to achieve pleasing proportions overall.
Ref.
lllffiil1, tsuilds
Build A When drawing a portly character, select clothing that will allow you to add highlights. Use the highlights to suggest creases between rolls of fat and flesh.
0verweiqht Build
B
This is a common build in gag (comedy) manga but has been losing popularity in recent years. Dressing him in clothes that are too small and pants that cannot be closed at the waist creates an illusion of corpulence and makes a lovable character.
ioht Build
C
Here, the plumpness is to the point where flesh sags. The image can be somewhat disparaging,
but it is also a way of representing obesity that easy to understand.
he viewer quite often finds
Female Characters ln the case of an adult female, emphasizing roundness in the breasts, turning them slightly upward generates
a convincing look. Builds A through C above may be used for girls.
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Styles of Representation Thin Builds Gaunt Build A This is an extremely popular method of representation. The ribs are emphasized to generate a gaunt look.
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Gaunt Build B Here, the ribs do not show, but the slack fit of the pants or other clothing suggests a skinny build. Likewise, this is a favorite means of representation in manga, depending on the genre.
Garrnt Build C .let* i emaciated =a,sbc
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ln manga, such tr oB{ l-r t,t,,la][Y used in moderate
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1li'iE overdo this
look,
m f, nr:r:rr: -age will result.
Characters ln the case of an adult female, emphasizing the curving at the
waist underscores femininity. The pelvis should also be widened. Builds A through C above may be used for girls.
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-uscular build, first you will need to learn how the muscles connect. Still, avoid an overly -:fresentation, or your characters will look freakish. Give moderate emphasis to the chest
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The arms are thick and the hands, small. The shoulders are broad and the waist, narrow. Use strong lines from top to bottom.
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Girl Emphasize the chest and the tapering of the waist to achieve the desired look.
Remember to Think in 3 Dimensions -scles are not flat but 3: mensional, so you need
: think.in volumes when
them. lt is ".rawing "rnavoidable: muscles nnove and have shadows, rrtality, and luster. Study bodybuilders and
athletes to learn about muscle volume.
Short Lesson Mismatching to Create lndividuality
O i*t I touched on this earlier as a cautionary point, but in actuality disrupting the figure's proportional balance or assembling very different body parts may make for an i nteresting character.
Needless to say, this is not always the case, and if the degree, or reason for stylization is unclear, then the
resulting character will just appear awkward rather than
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unique.
Skillfully contrived mismatching is occasionally used in character design. For example, an elderly character with aleft eyes or an effeminate male instructor may strike you as inconsistent, but this incongruence makes for a fasci nating, individualistic character.
---7-
Example of mismatching where some sod of ingenuity is needed- like dressing the character in
Mismatch of a child
with an adult's face
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Mismatch of a suited businessman with a boyish face
nt with
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r,tirthout meaning
;' practice, mismatches iomposed using odd rropottions could "iave unfortunate results.
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Proportioning Arms and Legs & o,,: How long should the arms and legs be made to achieve a well-balanced look? The answer is so that they match the body. ln truth, even though children's limbs come in varying lengths, proportionally they do not differ that much from adults. lgnoring the head size and calculating the limb length based on the body's height should allow you to create a well-balanced super-deformed character.
Arms and legs look well proportioned so long as they suit the body's frame.
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Aim
for a nalural
pofbrayal, uoinq well-balanced
armo and lege.
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lrsr"rpting Balance for Effective Comedic Portrayal ,iil;lllmrrrmlie'1
Cisrupting the balance may have
eftmts in the case of comedic portrayals. a,t a few examples. [r:F ,tiilflfl":
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Use
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Undersized Head
Super-deformed Character Portrayal This topic was covered earlier in this book, so let's consider this
review. Characters with headtobody ratios of 1:3 or 1:2 are perfectly acceptable, but when the character is poftrayed in engaging in an act, the joints will have to be bent. Naturally, there are actions that do not require bending. However for those occasions where straight joints appear awkward, artists use a crude technique whereby the number of heads-to-body-length is increased. As a cautionary note, when altering the head-to-body ratio, keep the change to a minimum, and avoid
extreme changes in the degree of stylization.
Bend Joints, Modifvinq the Head-to-Bodv Ratio as Needed
0 o
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Skillfully adjust the headtobody ratio according to the situation, such as exemplified in A and B. Manga is a created product, and super-deformed characters do whatever their creators want (grin).
*rs:-Jrted Super-deformed Character Actions
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This is; a co*inusiial1irffiihe$reii6_r$tdi$ contiiiiqatlq0.o{ilmpteti6ii$:disk$disi;:.;irlit.Aq€p(F8! itrr.,.',,,,los efrpected'Il :$i{,g0es.l!$i:Og1lliigragii0!$gtg(ll,yl 9(!IIl gli lYhen modif,yiI$:tl10lptoeiti0n6:mm:tltg0riguql;li::.:i:: modifyiI$:ttt0tpmporthns from the originql;liti.:i::rlilgl6ttdiii:g:tt! rli! :nP**01 .!i:iagogibulaM]]liasiii exacr n naturallv natu ral ly crircitrf cIrclihtKUld:tSC'tak$ti:With,:$ffliAat00l€eii:t:l::i0f iii:re;:i:liii:1i3:gt3[e,rmtir::9gg!:rt$:!ate:&rbe 0lilirbb taken with stvlization c&;i:r::ri{,f:r:1:i3;3t:Xhe;ri :X. gglliii$ily0lii:,!i$ual: (as mentiorlddltltatleffiikt{irAbeith0l:nlo$ifittdrrtlirltriti:tiii:i::is:i{!lp :tit irii::i:ii:ia:ii:ls:i{!lp rihiit.!0u:gslli,ii$ily0tii:,!isual,,$ense,,. :sBrrserrr tihatttqu: characteru iljiistillBr
exemplified in ttre flgures below. Consequenfi you, the artist, need to practice not and master llqqltllrl'i.lr:ilriiir:i fA.gI|&E::al}C&A&!QIIi A&EIillegQi:EQ:p. one de$iri,{ ee'ry$S. , but many.
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C"Xhapter 3
offio*o
Character Design 0n-Location
ffioq3 I would like to discuss here stylized characters I designed some time ago. A game manufacturer had contracted me to create a character. The figures that you find on these two pages are all this character (chuckle). First of all, in order to create a presentation to determine how the stylized character should look, the artist has to play around with various looks for the same lead character. There is the young lad type, the hero type, the dunderhead type, and many more. Then all of the prototype characters created are pared down, and only one is selected as the lead.
ln this case, the boy with the staff on the following page was the one selected. Next, I thought about how this stylized character would look in a sub-screen in a more realistic rendition and developed the more
realistic version based on the stylized original. lf the artist creates a realistic character from a stylized one, an entirely different set of techniques is used than those described herein. ln such cases, I recommend think about what features to abbreviate and how to create a super-deformed character while you imagine how the super-deformed character would look if he or she had a regular manga character headto-body ratio. This will facilitate the reverse process.
Draft
Draft 2
1
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ln the case of this heroine, I selected the girl holding
the staff to be the super-deformed character for the realistic version, but the character actually used ended up being the girl in the shorts on the following page. Thus, there are various paths that can be taken before the final character is determined (wry laugh).
Realistic Version
74
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Draft
1
% Dratt 2
L
'deformed Character
Realistic
-'7b
7,2:'G',l .r
Here, I have included the nemesis of the hero and heroine previously This is a favorite character of mine, and I have used her as a heroine in one of my mangaworks, " Binpatsu lchiban," and in crowd scenes (panels jam-packed with characters) in which I have participated. When I look at her now, I realize she looked pretty fetching with long hair in her earlier drafts too (chuckle).
Draft
1
Character
Charactei
nrs b the hero's young male Sdekidc At fte planning stage, lrc was to be a bandit, so ltried rehin a bit of that flavor in
b
Realistic Version
fiis image. It is tenific to give characters idiosyncratic skills like this. However, the hero or heroine could
hen seem bland in comparison.
a
The creator certainly does face a number of difficult issues.
Draft
1
'deformed Charactef
n
\9
Super-deformed Characters and Stylizing Clothes
ffio#
Up to now, we have been focusing on super-deformed character faces and figures. However,
it has
probably occurred to you that there is an accessory that characters absolutely need-clothing. 0bviously, since super-deformed characters are wearing this clothing, it should not be realistically drawn. For that reason, the clothing must be stylized to match the super-deformed character. Use similar means as you do for the face and figure to draw out distinguishing features in the clothing. A slight ditference in pen stroke could affect the flavor of the article. The mood projected by the wearer affects the clothing article as well. Likewise, sensibilities of the artist could make the character look tacky or neat and tidy. (l guess this is all moot for naked characters).
a
0
G,,9
Clean and Fresh
and
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Glose-up
Long Shot
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Jlothing is used less substantially than the face as a means of distinguishing a character's individuality. a result, clothing stylization can be pushed to the limits in long shots and still be recognizable. :lease refer to the belt example above. -rs
Somewhat of an exception to this rule would be clothing where we do not see the character's face, such as spacesuits or firefighter uniforms. ln these cases, the distinguishing features themselves project
fie character's personality. Gonsequently, pushing stylization to the limits, as mentioned earlier must be held n check, while the clothing is executed so as to project
individuality.
/n \/
l,
Points of Caution in Drawing Kimono Traditional Japanese clothing requires particular attention when drawing. Recently, young Japanese have fewer oppoftunities to wear kimono, and some have never even worn traditional Japanese dress. 0f course, personal interests may be at play here, which is perfectly fine. However, if you, as the aftist, ever find yourself having to draw Rimono, you will be in need of accurate knowledge. 0n these next pages I discuss common mistakes in drawing kimono. The most important factor concerning kimonois "construction." To explain this briefly, s0 even someone not interested in detailed kimonolacls will understand, an undergarment structured identically lo a Rimono is worn underneath the kimono proper. Conceive of this as a kimonobeing worn over a kimono.The artist needs to be aware of this fact and include overlapping collars when
drawing kimono.
It sure io Nouqh drawinq kimono, huh?
Io
lla r
r':,-see3figuresof kimonocollars.Thetopfigureisthemostrealisticrepresentation.Amoderate :rr t,i cf that resulted in the next figure. At this stage, the Inner collar is still visible, which is the
{iillliiillr ifl
1"
:irir""ilr ':tresentation. There may be rare occasions when the outer collar should perfectly overlap and lll ),: *1": :l'e inner collar. Since this only results when two outer kimono are worn, normally hiding the inner
;l) i,: : -,cthing more than a gross error. 1"r { r-rB underneath is a more extreme stylization. Because the under kimono is typically white, the line lri'1
'*{
r-q
lrhere one half folds under the other may be omitted in consideration of lighting. However, :;8"-e line for the outer kimono should be retained.
-' i'i?r more stylized collar would be that worn on the girl. Both the fold line of the inner and outer collars * r' :e omitted, as seen on the girl. However, leaving a nominal fold line of just a few millimeters will - ,*"r; me kimono infinitely more visually comprehensible.
Realistic Rendition
Moderate Stvlization
Some of you may be interested in how creases on kimono
should be handled. However, lhe kimono's construction makes
r a fabric with very complex ways of moving. Consequently, if iou try to position creases accurately, before you know it, you could wind up with a realistic looking drawing. Unless it is absolutely necessary, avoid adding creases, ln fact, I recommend that you render the fabric's texture as an object with volume without using creases.
Extreme
Stylizing Clothing P ctured on these pages is a variety of clothing. Please note that while attire is impoftant, it needs to retain some relationship with the character, and overall visual balance must be maintained. lf not, then your carefully designed clothing will be for naught. Refer to cautionary points and discussion of mismatching lvhen designing your characters' exciting outfits.
(@' ily Restauranf Waitress Uniform
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School
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Super-deformed Characters and Backgrounds
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All righty then, we discussed clothing, and we discussed the face and the figure, so you may think that this book on human figures should be coming to a close. However, truth be told, we still have more ground to cover. Your lovingly designed characters still need a space in which to dwell. So, let's take these next few pages to discuss backgrounds.
)uVer- def ormed characlere need euper-deformed backqroundo!
Buildings inevitably appear somewhere in a background, and like people, buildings always have distinguishing features. Let's look at emphasizing these features. Often, simply adding some form of signage will indicate that a typical building is for commercial use. lncluding hanging ad posters or ad
balloons on a multilevet building creates the illusion of a department store or supermarket. Prominently place a clock on a symmetrical building and scatter shrubbery here and there to create a school. Add balconies to exterior windows, outdoor mechanical units and a water tank to the roof to create an apartment building. lf you have successfully identified the distinguishing features of a woodstructure apaftment house, you should be able to use them even when modifying the degree of stylization.
0ommercial Buildin
rT--1-=T-1
il]-n rrrn
re Apartment House While you do not need to draw the fine details, the number of roughly drawn details should match the original. Perspective may also be disregarded to a certain extent.
----r-T-l Store
rn,ffi0rn
flat roof, the number of shrubs, spaciousness ofthe yard, and curtains in the windows help suggest an affluent house. Modifying the roof's shape, the house's wiffi, and the placement of trees
A
in the yard results in an average home.
with a Yard
Stylizing Cityscapes While I did write "cityscape," distant views of buildings rendered as skylines perhaps appear better as super-deformed character backdrops. Please note, however, that building outline heights must be drawn randomly. 0therwise, your skyline will look like a bunch of oscilloscope pulses, which will cause your scene to lose iB sense of a living space and reality. Perhaps beginners might be better off looking at an actual photograph when drawing the undulations in the cityscape. Another special stylization effect is reverse perspective. This technique consists of making the bottom of the building smaller rather than the top, which would be normal practice. This gives the buildings an eccentric flavor. Use this technique strategically, however. Overuse could cause the look to lose its idiosyncratic nature.
.Lssorted Backgrounds and
Props
i
For coffee shops and similar venues, include the bare minimum of props necessary. I feel that sketching the props freehand adds a nice flavor to the afiwork.
Drawing CD-R0M drives on computers makes them look more convincing.
Cotfee
a
Could be a Mac
a Self-built
PC
mafirm can aho be exaggerated according to the situation or intended use. However, take care. Wme fmw the sun touches a mountain, etc. helps express volume and time, adding too much hffitng and pen strokes could muddle the direction of light, causing your artwork to appear flat.
The prefened method for suggesting wind is to show a character's hair or clothing fluttering. tlowever, in those cases where this is not an option, simple lines may also be used.
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In-Depth
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Character Profile
In-Dcpth Super-defor
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complicated numerous movemen* encounter,llri
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