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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 1 02-0073 Japan

Assistance with Robotic lllustrations: Kanta Hino (Nippon Engineering College)

Cover lllustration:

Book lllustrations:

original Book Design:

Main tiue Logo Design:

Planning Editor:

English Edition Layout:

Gen Sato

Gen Sato and Asami 0gasawara

Masako okubo

HideyukiAmemura

Kuniyoshi Masujima (Graphic-sha Publishing Co., Ltd.)

Shinichi lshioka

EnglishTranslation Management Linguafr6nca, lnc. (an3y-skmt@asahi-net.0rjp)

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 of the publisher

Disfihned by

.,@xne Co., Ltd.

2+1 02 ltaka-cho, Kawaguchi-shi,

Sdana &P{022, Japan

PtrE rFa +81 {0H8-259-3444E+* scesol4aime.comlllEtr rl.i@itE.cofir

furrofrE; A.S.d m04

Gft#amfi*il@ln-n n h D EGIGI miE Co., tld.

oof Contents

lilmambr 1

llultmt El"E "Super-deformed Gharacters"?-' : : : Super-deformed Character" ...,...,................ 6

- -?,r= -,:es between Super-deformed Characters

:i-: ::;r stic Drawings ......................... I- 6's*:c - g Characteristic Characters .....,....,.....,..... 1 0

Iilimmpte,r 2

Super-deformed Building Blocks:-rue,Face and Body

;i-xnex'-def ormed Character Building Blocks 1

r -;l a fuce! ...............20--' i.is Bring Life to the Character.........................21

,*:sias S:Ck 0ut ......,.,,,.... ..................27-'; l: e. Moring Mouth. ..,..,.,..,......... 31

--* las Reflect the Artist's Pers0nality.................... 37

-ii ri_r 3S and Distinctive Si1h0uettes........................ 41

-,ir : i'iangle to Lay out the Face ,,.... 46

::,-: cf Caution in Drawing Super-deformed

:-":-:ers...... .............. 48

S,,Eer-deformed Character Building Blocks 2

uta -:ining Balanced Pr0p0rti0ns............................ 54

l*,"es of Representation ......,.............55

:-:,r,c rtroning Arms and Legs ................................... 60

:,- :e.deformed Character P0rtraya|......................... 62

C,tmpter 3

$uper-deformed Anything and Everything

-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 I ng Super-deformed Characters.......,.,.....,........... 92

S, mr-deformed Character Gallery ..........................'l 02

Chapter 4

Super-deformed Character Odds and Ends

Let's Compare! From Realistic to Hyper-Stylized .... 1 14

Special Bonus-Mix and Match ........122

Afterword ..................127

ln-Depth Look and Short Lesson

ln-Depth Look The History of Super-deformed

Characters ................. 16

ln-Depth Look: Meditations on the Name "Moe" ...... 18

Short Lesson:Are the eyebrows more expressive

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

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

ln-Depth Look: Super-deformed Robots ................... 86

ln-Depth Look: Super-deformed Characters and

Hand Stylization ...............,................ 90

Super-deformed characters are oodles of fun!soffiHello there! What genre do you visuallze when you hear the phrase "stylizedcharacters"? Do you picture characters from gag manga (humorous mangQ? 0rdo you picture corporate promotional characters? Perhaps you picture charactersfrom parody manga, such as in games. The phrase conjures up any number ofcategories in our minds.

However, a little statistic that may come as a surprise is that gg% of all mangasold in Japan contains "stylized characters." Although not named as such, mangacharacters are exaggerated expressions of the human form. Consequenfly, if anon-Japanese were to declare that absolutely all of Japanese mangaleaturesstylized characters, there would be no denying it.

The real point is that we just do not see humans with eyes that big or with starsin them,like we doin shoujo(grl) manga(wry laugh).

while the characters discussed in this book are stylized, they do not cover allmodes of mangafound in Japan. Still, I would like to discuss ultra-stylizedcharacters that do require heightened stylized techniques, also known as "super-deformed" or "chibi characters."

Perhaps you do not have a complete grasp of what I mean when I bandy aboutthe phrase "super-deformed character." For simplicity's sake, in this book t use"super-deformed character" to refer to compacted human characters stylized to1:2 to 1:4 headto-body ratios.

Contrary to what your first glance might imply, super-deformed characters areexceptionally 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 ineveryday situations, such as decorating a letter with a super-deformed characteror portraying your family in a hyper-stylized way. Make an effort to learn how todraw super-deformed characters, and discover new fun ways of using them.

Chapter 1

o ooo&oWhat are " Super-deformed Characters " ?

This is a "Super-deformed Character"#O+.;

Female Characters

'94 @.l'l --/ lt\

Male Characters

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.

,',1ell, 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

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.

ipixeding page,:*$1yi{ril]siFdlsllqry$B$r€|$tcedils page,

lyands and anns fot:male charac{ers come in a

D ifferences between Super-deformedCharacters and Realistic Drawingsoooiirere I will illustate (literally) the differences between a super-deformed and a realistically drawncfnracter. Please note that use of the word "realistically" does not necessarily mean a figure drawn inheightened realism or in the style of realism manga.l just use it to mean your everyday, typical Dick andJane 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

Character

@.4'lt llr\ \r-/

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 encounterifficutties 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 therurnber 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 morenf'nrmation.

Audaciously stylizing the character in that super-deformedway results in a well-proportioned super-deformedcharacter.

,6 @.'

t-,, f-1 tt'*-V)l Jr ,,t'

c. e

'(,,b

Good

Not good

Developi ng Characteristic Characters*o*We humans have many distinguishing features. lf you, the aftist, identify these features and exploit themwhen 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 distinguishingfeatures, picturing an imaginary person in your mind and then searching for these identifying features willalso make character design easier,

An artist's mental reproduction of a model comes out most strongly when finally put to paper or canvas, s0you will create a more satisfying character if you stress your own impressions of the model's physicalappearance rather than looking for outside sources of information or seeking others' opinions. You are theone who ultimately gives birth to this character, who is supposed to be imbued with appeal, Therefore, youshould be the one who knows this character best.

0f course, even with a model or referencepicture on hand, different features will strikeeach artist in a unique way. Therefore, you,

as an individual artist should emphasizethose features that have the greatest impacton you personally.

Ref.

"Cute"

"Cute" Nose

"Cute"otL.

Assorted Eyes

rv

m

Body;to*Bu ilds

One would also expect to find many people who have distinctive builds, even though they may lackfdimyncratic facial features. Stressing idiosyncrasies in their builds and adjusting the face to matchffie body will enhance your character's distinctiveness.

-\ Llza

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ooo

.4ooaa

o

o

o

F.#€fry Builds

(r,

-z \_

<-

A

I 131V

Using Stylization to Bring out Character ldiosyncrasies I

-\/////

// t /// r

// | / /

sd',r,O rlr

/'rrr\ooA.-\

\\ j

ln-Depeh LoolrThe History d:lS$p*Td$f0r arg6t€&t

or^ ^i^ira ^4 ^^-^^^* *^^-r^i -^ +- M^l.t^ limtla nai

^6^^r.lih^ +haaa limi+n aan ma.,!l Ia thaThe origins ofThe origins of mangaare regarded as traceahle timits, and exceeding those limits ean resutt in the

back to the chqi$:dgdlfrandscrolls (a Buddhlst,,tl:llit!i ,q!:l&tr.qi.:;&. q!itrty,.to.l,BgoslPg i-qstl$mlltllit

*,arrtiehi0s1$eilit,rlren$ircll$Q ffirlttlffigr*qllqii $:!!!atr]cqqqe, yqul,.,,,

*ririr} *lrr yfi!;g&i9,n19ttgt1t1trqasf"tro,1llll1ltl1ffiff1: , ii$f(& ffi1""""""'".'i::iii:"i':,.as "Scrolls of Frolicking Birds and Animals").

while these,sdr$s:sl. w'bird$,,a.nd,,aniuals :rllll0ws(:l&&i&.* qr$i.!ga&a!!0.:Q!!&i ii.@d:'ilanthropomortihti,6(qn$,qr!iq!it,!g]lfq,,,!!ulrqu'&..6i'l0q&tffi&ffig|*i*(9 sil!talrl&u$..Q..Lg!{[.'

satirical work wha

mimicking,:hffidd: ai* or movins in a ntaririii:ilieeij&it6ia$ttiUmtit$ :t! i{l$fgt*,!ittyiewrru,,,,.

Many enj.o}ilkl$i$!i{Ili!i0$lwltqrs.6iti@:0 ilipl.:il{h,q,$Pi& :0,t1 :::::::,X:l}:',i.li:riii::i,r.:r,,'i,,::.i'ii

are also abH,fui,

we find s&{40i:i:i:,litlittiiiitlti::ii:ltti::iit,ef:,v.ryJv..r.::i:.ir:t..rrrr,,,,,,,,..iliil:,il:lllill:::l:::lill:lii:i

manga ,

wonderi16:it iiiiiitif :if :.aiii*Airiiiiitiillil,iidil :.::l ti,:r lila'1rii

{ tt a{,9 a }l.!,,1!$,t;,::;l(*,an7tr|lii;lIl}present form.manga in::ftsrrri:i

iti::ilii:.lliri::i:,:il.i:ii::ri/

::::t::i::rri:ii:$srimi.tsi&sld0iin:|lgtlii{igq{F,q:lr:i::ii:ti]l

may be distorted within ,/

!:,.'.a.r,liYltlllll/ Jt \:ltt* [l;

wil.il IIUUr(riln, dilu UtE alluut utEdtHlg IItt, (rrtrrru Dliriill tu rriorutr ur rruw rrgurcD ,/ /

these set boundaries. . / /M a n s at : |ll : i:extemi0rjt0i$m:g$ mgn

these set boundaries. /r Annnrdinnlv ctrlizatinn Lc /iii1i;lil;ii.fscefd1i $!Il3&gl1e11; /i:i1"""""""""""""""".'

diti:iiti:ai,iaiii:ii

wondering "Wouldn't itilreaiif;*rting lik a technique tn"t n t- - / /trris courir:rhap&lrl$rlrci$,.$lrmi i l ii:':tir,.lit i $:i*t I / .

interesting sifuation," and using people to create I /_i":,:::'^:::::::^^ I Ithese situations

can be : :::il .,ti:t:.ll.:lt:,;irff1:l r,l,,.l.,l:tt;llllt:ti.l l I r'itrir:r(r:r.:l

rilLsrsgurrv srtusrrvrt, qrv ugilrv PwPrv w vrvqlu I Ithese situationscanbe ----\ /\ I Icredited with ,/ \^^^^^i^i+^./ --1a \ /l \ I Lf\

Yet as one might

.enderings have their

tilXlrilr|Ilfim n5 mmfton.'ffilrE

",8'- mOSt

Bfl$r,ffi-(EloffIl'*f,MlIrST adfigtd'stillmrrarE Sernents 0f,mmutlilfmrlnn Mangafims 21q 3lgnglllilfimln*r 3l'l just whennfiE r. rai stylized

lr,liffiinEr-! rnarketed

ruu wsqrs and

mrrnia.:aj products

mMm :Cftl6lity?

ne -arese wordwhrre''meaningtm,,nl]=*:n'fifSttMT6 r= USe around

llllilmm ::rr,'e of be hit

umm€ ' "bhu senkan

rrll@:Tm' ,Space

ffi*slpYamato).

rysaf. drew copious amounts ofr'parody mangammrrc lhat time (wry laugh).,$oweler, s00n,:r, .:.:

flFn?rds. tris surge in parody came to a halt,

ilr.m -ad been in charge of mecha designs for&'niEE: anime characters, which I had jugt drqwn

,,

Tr!ffirrreafurer, and these,,becalne the first,stylized r:r

;ffirers to be sold in product form.

T.-',mse oroducts were dubied,the "Q RobQ" (Q,,, :

frmc series, and I iontiibuted the designs of'lm,,,,,,,,,,,,,r:o-s stylized characters to be transformed into ,

&!-Eai machine prizes sold by the same toy.lmr-:acturer. These.charactersturned-$Umbail-

- rfl€-prizes include Q,,flobo Gog, and ,0 Ro,bo .,,

irar. as well as other ultra-stylized anime robot

ffiryal years afler'ihe 0l Robo:lseriei, anaheiioyn:'au'facturer launclled a new SD pr{ect. At the-.r-e most of my work was dedicated to the 0*rfi3 series, s0lwas unable to participate in thearcfiing of this SD; how..over,,! did Jater,ioin the

SD proiect, and cieateO a significant numbei otstylized designs connected t0 the "Gundam"series. I was later employed as head of a differentproject involving stylized characters under thesame toy manufacturel which enabled me to workon stylized designs for products, product logos,

and other matters unrelated lo mangaor anime,

and I continue such work today.

It is owing to this legacy of stylization that thepreviously disparaged parody and stylized artwolkgained their deserved respect and now enjoyrecognition from many mangaaid afiiryle ,,,,,, ,,aficionados.

Now, 27 years after I began my own stylizedartwork,l have been entrusted wiin the writing '

of this book.@ 1995ASMK

TJ

In-Depth

affection as

worlds ofqualitatively

addition t0'

Chapter 2coso#oSuper-deformed Building Blocks: The Face and Body

Cheak outthe mix-and-matah loundon page 122at, the end ofthis bookl

What a Faceli,:O*The face plays a very important part of character design. ln the case of a super-deformed character, theface should be something that the viewer will find disarming and evokes protective instincts. To put itsimply, a super-deformed character is one that contains many elements that will elicit feelings of fondnessin the viewer. Accordingly, the way each individual facial feature is rendered becomes very impoftant.

**,: Ei,es Bring Life to the Character

I

.{illli i': :':ernely individualistic, varying from person

,: :q,'ii-'- -st as the eyes of Asians versus non-Asians

ilffi*ilr" - . :: ieved that most individuals can be

ril il]'': - .-:d simply by viewing their eyes and facial

:r, "r :,: -:: s look at a number of different prototypes

ir i:a,,, -; the eyes,

@@d

, :pular Eye Expressions

oArttV

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Remember: Ihere ls More to the Eye Than Pupil and White I

;ttttttt-"

pFold or No Eve Fold

Eye withUnderneath and to the Sides

lashes

@'.. \-l '\-*-#

By gMng particular emphasis to the various eye components in this manner, you will be able to imbue yourdBfirter wih individuality. You'll also have lots of fun exploring the different moods projected byrnodrfyrng how fiese different components are portrayed.

@

Imarrur ng Memorable Eyes

Let's see how the eyes introduced on the previous

page look on a face. While the irises have been

handled the same for all, note how each treatment

of the eye makes each face look like a wholly new

character.

By all means, play around with the bonus mix-and-

match found on page 122!

Eve Fold Emphasized

Wrinkles Emohasized

\1

r1I.tit

',1 J

'lt i

Make the Eyes Expressive

0nce you have acquired an understanding of

basic eye rendition, the next task you will need

to address is how many different expressions

you can suggest using the eyes. lt is important

that you analyze the eye's various components

and learn how to stylize these components to

embellish a given facial expression. Play around

with exaggerating the individual eye components(e.9. the inner corner, the outer corner, the

eyelid, etc.)to see which expressions you create.

When using the eyes to suggest "laughter" or

"happiness," having the outer corner of the eyes

turn down will give them a hint of warmth. To

exaggerate the look of the outer corner turning

down, the inner corner must also turn down,

creating an arch. This look has become the

standard in character stylization. Differences in

the angle and size of this arch can produce

subtleties in expression, so the best that I can

suggest is for you to practice drawing yourself.

To suggest "anger," usually not only is the eye

drawn as "angry" but the eyebrows are as well,

owing to their relationship with the surrounding

eye muscles. However, the eyes themselves

actually change shape when they are pushed

downward by the eyebrow muscles, which

causes the upper arc of the eyelid to change.

When stylizing a character, the subtle change

in the upper eyelids is magnified. Simply put,

remember that "scary eyes" mean "anger."

To suggest "sadness" or "crying," as with anger,

the eyes actually change very little:the eyebrowslose their tension, causing them to shiftdownward and either come into contact with or

acproach the eyelids. While no change actually

iccurs in the eyes themselves, since this

:notion is tied to a psychological jolt, the irises

s^ould be imbued with a drained feel. Show the

=,:s directed either up or down, as if to suggest:: :iaracter is unable to meet another's gaze.-- s r,'lll create the desircd mood. Please also'=-'.' '.i tle section on eyebrows, where they are

: >: - s"sec separately.

o/Zr fm .T

@'//l

t-.- r

dmrrmmrls rm physically possible in the realworld are often frequenfly found in stylized artwork.rffirtiruuurmm qres s0 large, fiey extend beyond the facial oufline, tears pouiing out of eyes tike arilffifir|iofii r-r''Ek r.rsed in lieu of drawing eyes, or shapes totally in disregard of musculature. As IfllmilffimE0 Mher. these are the results of embellishing subtle movemenis in parts of the eyes or facellmlflffi]tt ruUuesrtg an emotion.

lfllililflnruflfi tflM mday we live in an impassive age. However, I would ask that you pledse pay careful attentionlmrHrrlll6r rrs d he eye move and how when you draw emotional reactions.

*t--t--r"_____)

t,

Short Lesson

The eyebrows are highly expressive of o ,_-

individuality, regardless of whether the characteris male or female. You might notice that in thecase of super-deformed characters, the eyebrowsare even more expressive than the mouth.

Assorted

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Are the eyebrows more expressive than the mouth?*o*Beginning artists will need to understand thateyebrows are not merely "lines."

During the course of my work, I often see

students' and young manga artists' work andhave noticed that as of late that eyebrows are

being less and less used to suggest emotion.Now, I do realize that plucked eyebrows are allthe rage in Japan for both men and women, sousing simple lines to render the eyebrows mightbe reasonable from a stylization standpoint.However, the truth is that this lack of individualityis detrimentallo mangaculture. Make adistinction in your mind between pop culturetrends and individuality while you are still young

and learn about the differences.

Extreme Emotional Reactions

Friendly Friendliera/^\

ItUOWiden the distancebetween the eyebrows.\*>

#'."6oo/\.

I

The eyebrows overallare lowered anddrawn touching the eyes. Generate a looko'terlsion on he brow.

"'r* ISES Stick 0ut: o q":.,

,ry;-1h ng for Distinguishing Facial Features

"i' llm :'? ,r -; in a stylized manner often disregard noses. However, there are

Llut"r r,*,r,r e'lnning around with distinctive noses, and you, the artist have ail, 'r -I : :. io exploit such traits or risk your carefully planned stylizedr'riiiiilr-1r*::.a : s ng f lavor. The nose is a superb feature for suggesting theti]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.

*i*ehte Noses

..ir r'l lri -: -,- : nOSeS pfOjeCt

L ', t:l: -:'ession.

,l)- ,,,^(a a

Detestable Nose

Large, angular noses seem eerie

and strike the viewer with fear.

!lorts Easily Portrayed through the Nose

The TalentedBoxer's NoseA small nose suggests

this boxer is good ai

avoiding punches,

indicating this guy sgot skills.

A\4O/C)n

/H /,C-)'"\AVw v,

Small Noses

€

[

*t-)

\

Use small noses for women and girls togive them a feminine look. Conversely,large noses project a stronger,masculine air.

(_

\-

Female character noses are typicallysmal! 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 haveone overplay the other. Drawing both equally expressive would cause a visual conflict. The two featureswould vie for the viewer's attention, canceling each other out.

-€D. ( r-^\

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Nose Symbols

i ;rr?55inrg with the Nose

1,{llllr il$ *," -,tsi to€s not actually move, it does change color and emitillllllliliilllrr'"lilll:i:'r: :,-,lr fiuids. Exaggerating these qualities will allow you to express

rrlrrlltilriritil,i ::r' :rample, add a little red on the upper part of the nose to suggest

lllllluliuu:rrriff[s;:;-.-t cr awkwardness or red to the tip of the nose to underscorerlririilulnL I :r'-a?a1:' rs in a drunken state.

llt 1ti -trh,r,E itave been discussing the nose's outer contours; however, like

lll, r dtur :i:s the nose has other possibilities of poftrayal.

,,"''t[ 1 a :'ire's color. Noses tend to redden, depending on the situation:luurur ilq =:: embarrassed, drunk, fall down and bump our noses, etc.

Iil '\irroiy' .:-i need to distinguish between the different reasons for the nose

I lilii"r," "-,: ,,,nen stylizing this phenomenon, 0r your nose will appear awkward., *r*'*,-rr. +Jris will also change when the nose is drawn exaggeratedlyrllrrrllrLh :" :.ra I Perhaps these points are better explained through pictures

iiillllll" rl :i:.- ,'lOfdS.

il ,lLL:i:r'r - for whatever medical reason, noses are often spotted with pimples

,]ti|lil: t-rr:,r : emishes. Perhaps it is because the nose pores, which are larger

liillrnll -:r: lisible than those on the other facial features, tend to secrete in

iilur:,LF ::-:lnts, inviting bacteria to enter. Whichever the case, blemishes can

l ,r,:1: r,ihen stylizing the nose to draw out the character's individuality.

Nrr" { :,i: ctions of runny noses have been disappearing trom manga of late,

ltmi,, i,? a standard way of suggesting childishness or childlikeness. Take care

lr '* { :,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

i,. 4 it were a tailpipe emitting gas, which is why professional artistsi so will exaggerate the nostrils, showing the snort broadening out from

the Fi

\l\ tt

ltll l$

rtrl,-

Drunkenness

:6^2

,\UAooto o-

D,h

Short LessonGiving the Face 3-Dimensionality,Even with Minus the Nose

..'o#Artists often omit the nose when drawing stylizedcharacters, but this is not necessarily always thecase, since many noses have personality. Whilecharacters without noses are perfectly

acceptable, please note that there is a largedifference between characters without nosesand characters who appear not to have noses.

Characters without noses become distinctivepersonalities owing to their lack of noses.Consequently, they should be drawn in profilewithout a nose, so take extra care to ensure thatsuch a character clearly has no nose in profile.

ln such cases, you will still have to give that

character's face 3-dimensionality. When drawinga head that is roundish all over, be conscious thatwhat you are drawing is not the same as an

actual human skull.

lf the nose is not visible from a front view,then omit it from the profile as well.

lf you have given proper consideration toward makingyour character 3-dimensional from all views, then you

should be able to rotate her.

fi\a

,@//t (J

,A

@/tl

^\EL

@

*rhrrrp Agile, Moving Mouth

300illllllr ;6 1p* m;a ifeafures, the mouth changes shape the most owing to the surrounding muscles. As you are

,il$illlttllllilllll 'rult8 ]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 suggestinglllrrrmn mmmrirril 0r agreeability of a character.

mmouthS)

w@

ndlv Features

,l,noss-Sectional Vi ew

1 . Lips2. Teeth3. Tongue4. Throat

Assorted Mouths

/0.'eg

'Tr 4'

gLower Teeth + Tonque

Noi used much other than for specialcircumstances

Decaved/Missinq Teeth +Used with children and comical characters

Teeth! sror-.ltar rtay of rendering he mouth used to*'mfi'*fis:E -r:9 nhen smiling. etc.

TeethNot exclusive to monsters, these may also be

used to illustrate a character's personality.

TeethUsed to add to a character's distinctiveness

M Tooth

tL

e,eE

€.' ,e_:- _(U,

,+ l:\\€.,.e(-7 5

Used to add to a comical character's personality

lfr,uryn*rs- r'ng Unique Mouths

ffi

m0

\rrfO,)

?

Assorted Stylized Mouths

/A- _/\__1-*-) V

\_/

<Q> q7

?m

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.

Do 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 stylizedihiaracters. However, care should be taken to avoid overdoing reactions, which could result in destroyingI'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 notrlrffi EEtF- frb have incisors, canines, molars, upper teeth, lower teeth, etc.

/^\ \

6,e

[ullinrfi [ombinations to Boost Expressions

Standard Smile

* e ride mouth means plenty of expression!

Now looks

happy

-Now lookspersuasive

P#

0O)

,@@O\ct

-.-.,/+Z=gv,LA'

*-hvv,L\'

fr----r,\(G)

In-DeFthWhat Do

childho0dl .l&ia!l

@

v

oott t \ -l

,ll

Lineo(daoheo) ona character'gface changedependinq onNhe aqe.

Tne Ears Reflect the Artist's Personality;ooilfltfltilrn "mmm tr assume fiat the ear is the part most difficult to distinguish the:lltuutttr'iliilrtlnmr"T neimiduality and is something to be hidden behind the hair. However,

ltfiruflfll lliilrts rd'H.s who see an ear and think, "Look! That's definitely an (Artist X) ear.',

litll$tilutll lilfirnmr,r" r s certainly true that the ear is not the idea body part for illustrating a,:flrrrflllililmM's :ersonality or behavior, but it is that which reflects the idiosyncrasiesilltltiffit161 4q1s .fie best.

ilmrmus Ears

When you start out,use the ears ofan artist you likeas reference.

lltrtiil* ""sspect to stylized characters' ears, there is no need to take as much care when drawing as youItttu iffi with a regular sketch. However, glasses pose a serious issue. You need to take care to position the

'rmuill': m fiat a character in glasses will not appear awkward. The ears are usually centered along the face,s

rmr*'iontours.

D

Assorted Ears

ry/lt

,c.llt \7

trllr

@ttt \7

:\ecTiriffi)

lffm Eans Are Here!

Li

Not good

,ritrf,liufrs 'ave fie tendency, particularly with female

nfltlruf,iffimrs. to hide the ears under the hair. Make

irn*l ffii to allow the ears' presence to be evident,

rrnrurum,,r r ffiey will not be visible.

-Hfrding Elfin Ears*rE

ears can be hidden

mnlnd the hair, which

alows a character

r conceal physical

:sdities from others.1ls is a fantasticmchnique both

ramatically and in

$Dry building.

Good

e@

{0@

Ear Expressions

The ears are not moving body parts. As a result,

artists usually reserve elements of movement withthe ears to comical situations. However, the ears'

sizes may be modified to suggest that an individualis using them.

Radar Ear

It,,

Dut, it looke

)uof,like hioear really didqet, biq.

tltt

I On elderly characters, large-lobed ears create a gentle, kindly Iook

llllil["::i'JfH#xl,:'- -xb -MI book illustrations, etc. with A _-A /__, :-i targe earlobes. For some lL- ' a- St lL- t 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 and Distinctive Si Ihouettes3(tr0

tgittilflulltltrn mrmmfil *rrodrfy our hair to suit our personal preferences by

umrnrmm, i[ Wrnq rt up. or dyeing it. Thus, the hair is a great feature for

ilffiiriililililllllllMliliimriq ; clnaracter.

lmr ,iur it[mmr* ffi ?ne hairdos of the lead characters in Ge ge ge no Kitaro,

lllllitiilimtmtrflflrM. m afld ty to devise an original hairstyle of your own.

Imorted Hai

I

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 totie back fte hair realistically to create a certain shape. Remember, the character could always wear ahairpiece or extensions.

((t1) ))

Characters cannot be made distinguishable using cololi grey value, 0r screen tone

Modifying the color of acharacter's clothing or hairbecomes meaningles in dail<

settings or under speciallighting. Consequently, avoid

worrying about color or grey

value if you want toemphasize individuality inyour character design (fiesame applies to screen tone).

h,-Depth Loolr**e

lrnportance of thg

,tlillliulrlr , +. , ;=i pack to our topic...flow w0':,, - ''r.,:

lrtllt-T'r* : j :id who is approaching..from.faf,1.,..;1,;1,,

{f{lrr1r' ; : * .':s allow uS to identi,fy':him ofiher?,.',,..,,

rr11'r- * -: -: -ave good eyesight,andro,thgisl,b,ad,.,:'

,LrLL ll''r -., :all out. Stilt, moStd,'UgUse"':':,1:":",::;, ,,'

llllliil, * :- : - I the silhouette to-identff-y,gur,,fri9nd,;,;',.

ittt',ilIlilr,i,,,, i :,:-. ai Fig. A. lf youlw9re,,as'k!d,,tsidentify,,:.,

r, r;r,.,i*, - - a' Iharacter arnongst$e,!.rlhouettq.9r, '':rr:,*,,,,;, ,,: - I ysu tinO yoUiAig4tg661yfi,''.''

.._ .:, .:::::. ::. . ::..: a

llllltir: :,:. at the 9r0up,j'1 p'g'g:''p-ortr-aBs:this:90€s

,,q,,r* : .t :,:;ing, but chanCesta&:&ti$0fn-e-itlme,yolt

{u!ti ",- ',- :u draw acharacter:is,Shadow.o!:,back',

-=\\)

',,t1

andf emaleilchAtat,&rs?tt0.li!-n0es.are:&at'tfrey,: Cltalaeieilq,,lA,rnais,thaleprobably would not convince

sifloilailsilh0Uettet.br$i,When:ttreii,silhorr

ffi

Sports-centered story

{45&

Use a Triangle to Lay out the Faceso*Face layouts play with our instincts depending on the particular layout pattern used. For example, the sizeor position of the eyes could evoke parental or protective feelings in the viewer.

Well fien, what other etfects do we artists have at our disposal? Let's take a look at a few.

I 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 andfie angle and distance from the eyes to the nose and then to the mouth. ln a glance, you can see howwhether an equilateral triangle or an isosceles was used affects the character's individuality or moodprojected. Play around with ditferent triangles.

Whether a face has wide spacing between the eyes, a nose positioned high or low, large or small facialfeatures all affect how that person is perceived. However, I feel I should warn that this does not necessarilymean that the individual's personality will match this perception. Assuming that the face perfectly matchesffie impression projected or personality of its wearer is prejudice. My mug is not so perfect either andcould probably scare someone into thinking l'm a felon (chuckle). At the most, what we are discussing onfiese pages is the image projected as a manga character. I want all the readers to understand this as wecontinue our discussion.

Faces Mature Faces

ffi\tl,

\..,\\t/

ery\--"/\\r' )

frr'--tf'.n

\./\Y/

I r::^ess ls Not Exclusive to Big Eyes

'rlltililurr,* rE i -Fh floating around thatmlllrrrLlr,,,lrrrnr re eyes large willautomaticallyIrrrrrrirllllrruii ; :raracter "cute," but is thatililtiiiit:iiltiflriffi-'x fie case? There are plenty of

rli/lrrrlrt;lrr r :is world with small eyes who

tflrllr, t*.:E adorable. This would indicate

trrrniliiit :* same would apply to drawing

luiiilflr r,':ed characters. Hence, mastering

mrr,, ltg{:r means that you should be ablerrllr lltsri:, any type of character you desire,rq11;11;611'flr*.ss of what popular beliefs might

,rrrlfir titiir icE*ut character stylization.

rirr,ii, -E HfiB token, whether eyes give a;frliliff.?: a sweet face or not does notlllflrry-c cn fteir size, but on their position

rrr p,rL-- Let's take a look at some]iilllll"xrs.

Small

- emper layout makes for a delightful face

5ye Position

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.

Circle vs. Ellipse

A perfectly round rather than oval head is cuter.

OO/lt \-J ll'

B. a

.A n

tl\r.-rr'

ao\._/

- ^oo\--l

.A .^,oo\r-l

.^ ^aa

\r.../'

Points of Caution in Drawing Super-deformed Characters

/7 A ttt

Not everything goes when drawing a stylized

character. Characters must be composed accordingto certain rules and must be visuallycomprehensible.

Naturally, this excludes those cases where you

intentionally raise the eye level or wreck the face'slayout (only to be used in comical situations or forPicasso-style scrambled faces).

0ccasionally, there are artists attempting to drawtheir characters in perspective in order to improvetheir look. However, adding perspective to acharacter whose head is not that large in the firstplace requires exceptional drawing skill and in truth,is not even necessary. Avoid concerning yourself

solely with the character's appearance and adding

haphazard perspective.

:q\l t

t7/

:mtl11lmmlltntrrng ffie Degree of Stylization

Character with Mixed

Degrees of Stylization

* i$e symbolized noses on super-deformed characters

Realistic Face For super-deformed characters, noses should

be stylized by using highly abstracted, symbolicshapes. lnept use of a realistic nose will destroythe overall stylization of your lovingly designed

super-deformed character.

Maintain a consistentlystylized look for your super-

deformed character by

omitting or using a highlyabstracted shape for the nose.

,p t,t

Short LessonDrawing Non-Japanese Characters':offiThat one can usually distinguish the difference between

a Japanese and a non-Japanese individual indicates it ispossible 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 nationalitiesyourself, so I encourage you to play around.

One technique I use to distinguish between characters

of Russian versus northern European extraction is togive the Russian character a hint of Mongolian.

Ultimately, this decision was not based on logic but just

to create a convincing air.

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 thattraditionally "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 thatpersons of these ethnicities necessarily look like whatis pictured.

Equilateral triangle

S=v)

lsosceles triangle

@

iM,rw&i$ tortltBr{orehead, mouth, and eyes

character to convert him or her into

teehniques to suggesting age.

to Middle-SchoolPreschool Aoe

'een to Mid-

@!_\ rGL

(. -\

EIderl

(,t*J

Ilt-Super-de.d d.l

Needless to

I-Dcpth LoolrS,4 i n g S u pe.,rrd6&fh ed, C ha ra e&,K1t.}t,r,,,,,,.,,

oolffitgur are maintaining a sense of 3-dimensionality presence as a solid. Consequently, you need 1l;i::ltixq$,encsraqiia,sirlid;:eiim,$ullry tuwing ano,gllg|g$lllqglgrpi {&ti:l{ prg&tgittiir: ne$$&Sx$l&$i?$91,$

iili:i:iiliiiril'i;rr''

0@ illip ptay. Takg11118tallineilhi$i&gq::iipf:niQanl:iiri:l:i:.i:itili:r.lirilil.i:.i:.t:liii::::iiiri :::x::.:l::.,,':.ffi fi,uftimal, reali rr8il9ipt$ttasdwlh!&i*tp ::it::il:i:i:::iiii::iili:::riuif:t:::ii:i::ii:,:iliitl:i::trrrrl.':

ffi M give tte su0$ft*ffm$.gigi&iei,*t:tii:t,,t,, . .. ,. ... ., :::r,;rrlrrii:ir::r:r::,rr':ralt::lair:a::::::a::r'irrl

)ACI

\e

Make the lit areas light.

. 0ther areas should be

made dark.

Back lit

\\,rN

I

Maintaining Balanced ProportionssooNow 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. Lookingat fie 1:3, head-to-body figures and then again at the realistically drawn figures on this page, you willlikely note the arms and legs are proportioned fairly similarly to those of the realistic figures.

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 basicproportional balance while stylizing the details.However, you will need first to consider what sort ofhead will match the facial layout you alreadydesigned. 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.

1:3 Head- Here, the entire figure is 3 heads

in height. Matching the shoulders'width to that of the face results in

a satisfactorily balanced figure.

Here, the figure is 2 heads

tall. The shoulder widthshould be narrower thanthat of the face. The head

and the figure should have

approximately the same

area to achieve pleasing

proportions overall.

e

Ref.

1:2

lllffiil1, tsuildsBuild 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 BThis 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

he viewer quite often finds easy to understand.

Female Charactersln the case of an adult female,

emphasizing roundness in the breasts,

turning them slightly upward generates

a convincing look. Builds A through Cabove may be used for girls.

o(rgs\

Oro

Styles of Representation

Thin BuildsGaunt Build A

This is an extremely popular

method of representation. The ribsare emphasized to generate agaunt look.

Garrnt Build C.let* i

=a,sbc emaciated

@efr-d*r:e s farhfully reproducedm mlriro- -:m ln manga, suchtr oB{ l-r t,t,,la][Y used in moderatemnr r _:uSEesrlan ailing character.hre ]tr: 1li'iE overdo this look,

m f, nr:r:rr: -age will result.

Gaunt Build BHere, the ribs do not show, but theslack fit of the pants or otherclothing suggests a skinny build.Likewise, this is a favorite means ofrepresentation in manga, dependingon the genre.

Charactersln the case of an adult female,emphasizing the curving at thewaist underscores femininity.The pelvis should also be

widened. Builds A through C

above may be used for girls.

4i

flllf,lllltu,Hr":,, af BU i I dSIrr llltrllur i -uscular build, first you will need to learn how the muscles connect. Still, avoid an overly

tiuintilllllflr',r,; -:fresentation, or your characters will look freakish. Give moderate emphasis to the chest

,ulltrllr :rrrr-r3ar muscles to create a general brawny impression.

-;\o

: ^,-/o

The arms are thick and the

hands, small. The shoulders are

broad and the waist, narrow.

Use strong lines from top tobottom.

Girl

Emphasize the chest and the

tapering of the waist to achieve

the desired look.

M

_(-LI

Remember to Think

-scles are not flat but 3-: mensional, so you need

: think.in volumes when

".rawing them. lt is

"rnavoidable: muscles

nnove and have shadows,rrtality, and luster.

Study bodybuilders and

athletes to learn aboutmuscle volume.

in 3 Dimensions

Short LessonMismatching to Create lndividuality

O i*tI touched on this earlier as a cautionary point, but inactuality disrupting the figure's proportional balance orassembling very different body parts may make for ani nteresting character.

Needless to say, this is not always the case, and if thedegree, or reason for stylization is unclear, then theresulting character will just appear awkward rather thanunique.

Skillfully contrived mismatching is occasionally used incharacter design. For example, an elderly character withaleft eyes or an effeminate male instructor may strikeyou as inconsistent, but this incongruence makes for afasci nating, individualistic character.

Mismatch of a childwith an adult's face

Mismatch of a suitedbusinessman witha boyish face

ltt A tll

---7-Example of mismatching

where some sod ofingenuity is needed- likedressing the character in

-osi(\r

nt with

\'2n-

J6\;

r,tirthout meaning

;' practice, mismatches

iomposed using odd

rropottions could"iave unfortunate results.

zL \=---\_.-J!)

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 theymatch the body. ln truth, even though children's limbs come in varying lengths, proportionally they do notdiffer that much from adults. lgnoring the head size and calculating the limb length based on the body'sheight should allow you to create a well-balanced super-deformed character.

Arms and legs look wellproportioned so long as

they suit the body's frame.

Aim for a naluralpofbrayal, uoinqwell-balancedarmo and lege.

@ '9,

lrsr"rpting Balance for Effective Comedic Portrayal

,iil;lllmrrrmlie'1 Cisrupting the balance may have

iltflfliJrluLs eftmts in the case of comedic portrayals.

,tiilflfl": [r:F a,t a few examples.

Use

Lens

Undersized Head

@

W,6

o{/a

g

Super-deformed Character Portrayal

This topic was covered earlier in

this book, so let's consider thisreview. Characters with headto-body ratios of 1:3 or 1:2 areperfectly acceptable, but when thecharacter is poftrayed in engaging

in an act, the joints will have to be

bent. Naturally, there are actionsthat do not require bending.

However for those occasionswhere straight joints appearawkward, artists use a crudetechnique whereby the number ofheads-to-body-length is increased.

As a cautionary note, when alteringthe head-to-body ratio, keep thechange to a minimum, and avoid

extreme changes in the degree ofstylization.

Bend Joints, Modifvinq the Head-to-Bodv Ratio as Needed

Skillfully adjust the headto-body ratio according to thesituation, such as

exemplified in A and B.

Manga is a created product,

and super-deformedcharacters do whatevertheir creators want (grin).

0o \,,

*rs:-Jrted Super-deformed Character Actions

-J\6tr'

-r/

My leet haveqone numb.,.

\L,orr,

'.li1ii'x'*tli.ltl::i:.]lii:t .::i:,,:il.,:titi:ii.:],i:]t'lti'.::ri.l,itllliilli:.,li:i:itlln-Depth LoolrIII-trE;rlr1:l,!i-U9,Err:,..;lrl:li:::i;i1illtii;:r;it:iriiiitlii:;1;ti:r:i:tt,:r,:1;,t,l,

M o d i fy i nsr1; 61;ifi r$ffi 6ffi tA*o rtray,, M ffi 6n t,\

.i.

; a contiiiiqatlq0.o{ilmpteti6ii$:disk$disi;:.;irlit.Aq€p(F8! :$i{,g0es.l!$i:Og1lliigragii0!$gtg(ll,ylThis is a co*inusiial1irffiihe$reii6_r$tdi$ itrr.,.',,,,los efrpected'IllYhen modifyiI$:ttt0tpmporthns from the originql;liti.:i::rlilgl6ttdiii:g:tt!naturallv cIrcliht 0lilirbb taken with stvlization c&;i:r::ri{,f:r:1:i3;3t:Xhe;ri

9(!IIllYhen modif,yiI$:tl10lptoeiti0n6:mm:tltg0riguql;li::.:i:: rli! gli :nP**01 .!i:iagogibulaM]]liasiiinatu ral ly crircitrf KUld:tSC'tak$ti:With,:$ffliAat00l€eii:t:l::i0f :X.(as

characteru iljiistillBr

iii:re;:i:liii:1i3:gt3[e,rmtir::9gg!:rt$:!ate:&rbe exacr n:tit irii::i:ii:ia:ii:ls:i{!lp tihatttqu: gglliii$ily0lii:,!i$ual: :sBrrserrr(as mentiorlddltltatleffiikt{irAbeith0l:nlo$ifittdrrtlirltriti:tiii:i::is:i{!lp rihiit.!0u:gslli,ii$ily0tii:,!isual,,$ense,,.

exemplified in ttre flgures below. Consequenfiyou, the artist, need to practice and master not

one de$iri,{A&EIillegQi:EQ:p. fA.gI|&E::al}C&A&!QIIi llqqltllrl'i.lr:ilriiir:i :l

ee'ry$S. 9!ltieiit:la!al!1'!:l:t.a:i.i'iiitiiii:l:iiti:,itr.iiliitt.iiiii..:::::i:i::i::::i:,ii:iiiili.ii:..:i.i,i,'ii.i:iii:iii..,, but many.

re

dl,l@

C"Xhapter 3offio*o

Character Design 0n-Locationffioq3I 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 howthis 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 toabbreviate and how to create a super-deformed characterwhile you imagine how the super-deformed characterwould look if he or she had a regular manga characterheadto-body ratio. This will facilitate the reverse process.

Draft 1

Draft 2

" r ,/1:7t

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ln the case of this heroine, I selected the girl holding

the staff to be the super-deformed character for therealistic 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 ,;,

i

Draft 1

Dratt 2

%

L

'deformed Character

Realistic

Draft 1

7,2:

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Here, I have included the nemesis ofthe hero and heroine previously

This is a favorite characterof mine, and I have used her as aheroine in one of my mangaworks," Binpatsu lchiban," and in crowdscenes (panels jam-packed withcharacters) in which I haveparticipated. When I look at her now, I

realize she looked pretty fetching withlong hair in her earlier drafts too(chuckle).

Character

Charactei

nrs b the hero's young maleSdekidc At fte planning stage,lrc was to be a bandit, so ltriedb rehin a bit of that flavor infiis image.

It is tenific to give charactersidiosyncratic skills like this.However, the hero or heroine couldhen seem bland in comparison.The creator certainly does face anumber of difficult issues.

Draft 1

Realistic Version

a

'deformed Charactef

n\9

Super-deformed Characters and Stylizing Clothesffio#Up to now, we have been focusing on super-deformed character faces and figures. However, it hasprobably 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 thatreason, the clothing must be stylized to match the super-deformed character. Use similar means as you dofor the face and figure to draw out distinguishing features in the clothing. A slight ditference in pen strokecould 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 allmoot for naked characters).

Clean and Fresh

and

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I

Long Shot

Jlothing is used less substantially than the face as a means of distinguishing a character's individuality.-rs a result, clothing stylization can be pushed to the limits in long shots and still be recognizable.:lease refer to the belt example above.

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. /nl,\/

LGlose-up

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Points of Caution Drawing Kimonoin

Traditional Japanese clothing requires particular

attention when drawing. Recently, young Japanese

have fewer oppoftunities to wear kimono, andsome 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 drawRimono, you will be in need of accurateknowledge. 0n these next pages I discusscommon mistakes in drawing kimono.

The most important factor concerning kimonois"construction." To explain this briefly, s0 even

someone not interested in detailed kimonolaclswill understand, an undergarment structuredidentically lo a Rimono is worn underneath thekimono proper. Conceive of this as a kimonobeingworn over a kimono.The artist needs to be awareof this fact and include overlapping collars whendrawing kimono.

It sure io Nouqhdrawinq kimono, huh?

Io lla r

{iillliiillr r':,-see3figuresof kimonocollars.Thetopfigureisthemostrealisticrepresentation.Amoderateifl 1" :rr t,i cf that resulted in the next figure. At this stage, the Inner collar is still visible, which is the:irir""ilr ':tresentation. There may be rare occasions when the outer collar should perfectly overlap andlll ),: *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 linelri'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 kimonoshould be handled. However, lhe kimono's construction makesr 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 isabsolutely necessary, avoid adding creases, ln fact, I

recommend that you render the fabric's texture as an objectwith 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 retainsome relationship with the character, and overall visual balance must be maintained. lf not, then yourcarefully designed clothing will be for naught. Refer to cautionary points and discussion of mismatchinglvhen designing your characters' exciting outfits.

ily Restauranf

Waitress Uniform

Dress

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Super-deformed Characters and Backgrounds#oeAll righty then, we discussed clothing, and we discussed the face and the figure, so you may think thatthis book on human figures should be coming to a close. However, truth be told, we still have moreground 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 characlereneed euper-deformedbackqroundo!

0ommercial Buildin

re Apartment House

While you do not need to draw the finedetails, the number of roughly drawn detailsshould match the original. Perspective mayalso be disregarded to a certain extent.

Buildings inevitably appear somewhere in a background, and likepeople, buildings always have distinguishing features. Let's look atemphasizing these features.

Often, simply adding some form of signage will indicate that a typicalbuilding is for commercial use. lncluding hanging ad posters or ad

balloons on a multilevet building creates the illusion of a departmentstore or supermarket. Prominently place a clock on a symmetricalbuilding and scatter shrubbery here and there to create a school. Add

balconies to exterior windows, outdoor mechanical units and a watertank to the roof to create an apartment building. lf you have

successfully identified the distinguishing features of a wood-structure apaftment house, you should be able to use them even

when modifying the degree of stylization.

Store

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A flat roof, the number of shrubs,

spaciousness ofthe yard, and curtains in

the windows help suggest an affluenthouse. Modifying the roof's shape, thehouse's wiffi, and the placement of trees

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, includethe bare minimum of props necessary. I feelthat sketching the props freehand adds anice flavor to the afiwork.

Drawing CD-R0M drives on computersmakes them look more convincing.

Cotfee

Could be a Mac

a Self-built

PCa

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 muchhffitng 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.

Trees and

and Gusts of

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Posing Super-deformed Charactersooo0n ffie next few pages are stylized characters ofassorted occupations and in various dress to be

used as reference.

Many feelthat in recent yearc manga charactershave been becoming less distinctive. ln the past,

characters were s0 clearly expressed that one couldglean what type or role he or she played in a singleglance. The schoolyard gang leader, probably soonto be designated an endangered species, is onesuch character. And then there is the pampered richkid somewhere in his entourage. Fujiko Fujio'smethod of drawing out a character's individuality tothe max, which is considered proper practice, is stillcontinued in manga circlestoday. Fujiko'scharacters are so terrific that even those picking uphis work for the first time are able to understandthe characters' roles. I mentioned this earlier, butthis is what defines a character's distinctiveness.Characters that the reader visually cannot discernwho they are and what they are doing will not lastyears down the road. So, what prevents you fromtrying to create your own characterjust saturatedin individuality right now?

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TWhen the subject of boys comes up, I can

think of numerous characters to createusing exaggeration techniques: an imp witha sword; a spunky, brawling, scrape-coveredscamp, a numbskull, and a gloomy Gus.

I might even be able to think up more.

Each pen stroke and each prop greatly

affects the characters' looks.

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Doctors come in various forms. There are kindly doctors and quacks. For thelatter, draw the doctor hunched over, to suggest a sense of danger like thatone might find in a darkened alley. However, take care when drawing thecharacter hunched over that the figure rounds only at the shoulders and notthe small of the back. (0thenrvise, you will unfortunately end up with an elderlycharacter. A definitively different style of bad posture is needed from thatwhen created elderly characters,)

As when drawing a boy, exploiting minor distinguishing features can suggestpersonality differences within a given profession. For example, even amongstpolice officers and detectives, there is a wide assoftment of possibilities: arespectful and polite rookie cop; a sunglass-sporting hot-blooded detective;or a shrewd detective, like Columbo.

Alternatively, for police officers, it might be interesting to show a disparitybetween the otficer at work and in private, as is shown in the illustration.

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A schoolteacher is regarded as a

sacred profession. Still, a littletinkering can create a character such

as Kinpachi from the TV series "San-nen B-gumi Knpachi-sensef' (Mr.

Kinpachi's Third-Grade Class); a strait-laced, uptight teacher; a teacher so

mean, he eats children for breakfast;or a mobster-looking teacher.

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Methods of Stylization in Game Characters

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What you see pictured here are simulation game characters lcreated approximately 10 years ago.Atthetime, stylization techniques where still being developed, which is probably apparent in these images, butI still hope that you find them useful as reference.

ln the case of SLGs (Simulation Games), the characters usually appear in panels, so unlike the charactersin " Dokapon Gaiden," these characters were not intended to move, and it was important to emphasize

design as a still picture. As a result, you may find that some of the char4cters probably couldn't move iffiey tried.

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These too are charactersI created about 10 years

ago, so stylistically theylook a bit different fromwhat we have today.

When I designed them,I had given due

consideration to theirroles to make them

distinctive. Again, I hopeyou find them useful as

reference.

'!/-... -i

m!ffi @oglze for putting these characters in the reverse order. 0n this page appear characters I created

,lumq ment stylization techniques. You will probably notice the different degree of stylization and handling

m mr wk in fiese characters as opposed to those on the previous 3 pages. Monsters are a type ofwpt ;cilil$lde), so it is acceptable to handle their stylization the same as you would a human heavy.

Ms mte, lpwever, that how you execute them will affect whether you make them scary or lovable.

llhr ffienstein Monster, Creature of the Black Lagoon, werewolf, etc. are drawn with the same eye level

G r rilunan. fur heightened drama, the heads may be enlarged to boost the sense of tension or fear.

lurmmmty, using a perspective whereby the head is made smaller does create a psychological state of

um' m tfst fie monster appears to be looking down at the viewer, However, take care: a super-deformed

rlltffffi@/s personality is concentrated in the face, s0 making the head smaller could backfire on you.

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,o

Super-deformed Character Galleryffio&Super-deformed Character Designs for Children's Television Programs

0n these pages are characters I created for an old children's television program. Sadly, they were neverused (wry laugh).

I am not sure how appropriate the phrase "children's program" is. However, these characters required anunusual execution, whereby the figure was to appear flat and yet rendered as if seen in 3-D. To explainthis in simpler terms, the characters were to appear as flat, two-dimensional objects. Color was alsohandled in such a manner as not to create a solid feel but rather to make the various parts distinguishable.There are shoujo manga artists who create flattish characters but use brushstrokes and gradation tone(a method of adding "color") miraculously to create a sense of volume. However, to a yet unsophisticated,young child such characters look fake. To young children, who take these images at face value, a flatcharacter should be flat, and forcing 3-dimensionality on such a character is nothing less than offensive.

There may even be adults who look at shoujo mangaand react with similar distaste. Thus, the charactermust first be regarded as a flat plane. Then, the character must be regarded as a 3-dimensional object thatis able to move, in order to make a child's fantasy world come alive, where the child can play with thecharacter. Consequently, an innocent child would sense a clash if one were to use heavy-handedly themethods of head-to-body ratio adjustment discussed previously. Hence, this was another point that neededattention. Stylization intended for children's consumption is extremely complicated requiring subtle balanceand involving issues unthinkable for normal stylized characters. Even more, execution of these charactersrequires awareness of using clean, carefully placed lines thickly drawn to a certain extent, rather than thindetailed strokes, and it is not an exaggeration to say that stylized children's characters are absolutely thefinal goal of this book.

Please note that our discussion of character execution as it appears in this book is still incomplete, and I

hope to cover more in later volumes.

Super-deformed Character Design for Gaming 1

""ress are from the unreleased character profiles I

msqned for the game " Dokapon Gaiden" someMrriie ago.

-u"xti{e tre characters designed for the SLG

$snssed earlier, these characters are stylized

mrder fie assumption that they would have to be

mpable of motion, since Dokapon required a certainffiqree of movement. Thus, I needed to achieve

raance in the degree of stylization and to execute

fe joints believably.

The arlisl has Lothink abou| thech a r a cNer o' ely lizaLi o n

balance eo lhaL he orehe can ?ortray actioncorrectly.

@ 1995ASMIK

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Super-deformed Character Design for Gaming 2

j" rese pages appear some of the characters I created for the game discussed on p. 98. They have been

sl,' zed to illustrate their professions and other qualities, but they have not been executed to allow motion,

as novement is not a prerequisite of SLGs.

These characters represent various occupations and uniqueness. Their "eccentricities" are strongly

crcjected. Conversely, the 2 protagonists appearing at the bottom of p. 1 1 1 do not exhibit strong portrayal

c'f eccentricity, but rather their uniqueness is downplayed. The reason for this is if the frequently appearing

protagonist was a strongly eccentric character and the player became accustomed to this, then that would

cause the other highly idiosyncratic characters to lose their distinctiveness.

Metaphorically, the protagonist is like the white rice of a meal, while the opponent chara@rs are like the

side dishes. An opponent character, like a side dish, is more interesting if it changes from day to day.

However, if the protagonist, were not like white rice, but like fried rice or chicken and rice, wouldn't you

grow tired of it? That is why the uniqueness of the protagonists pictured at the bottom of p. 111 were

minimized somewhat.

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Chapte r 4o o*offioSuper-deformed Character Odds and Ends

Let's Compare !

oooFtere s a titfle bonus. I wondered what it might be like to redo using stylized characters a collection of

ffiayg6shorb trat were published some time ago, so I played around a little, and the results are what

you see on fie next few pages.

lronically, I do draw considerable amounts of regular manga (chuckle), but for some reason I just can't

shake my reputation as a gag mangaartist. So, I figured since that is what people think of me anyway,

I might as well parody my own manga.The published collection consisted of 4 regular shotts. At the

volume's end I added a brief, collective parody of the preceding shorts (grin). I hope you enjoy comparing

the originals with their parodies.

Thio is juot, a tyVicalohoppinq area. bul,toher, it, musN be like achildren'o amusemenNpark. SLill,l enjoy oeeinqouhere ha??y.

Um...l gueoo.

Hey, eince wecame all t,heway to Nhe bigciLy, can I do alittle ohoVVing?

Wowl Even the peoVle inlhe sf,reet are otylizea.

./\.frrs).V

Note that the backgrounds are also stylized.

;t @@@

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t-

9o, can you iell uewhal happened tothat, kid, afLerLhat?

l,ello, DetecLive.

UnforLunaLely, if rhememory of the murder isexpunqed, any recollectrionof her molher will alsovanieh, eo eeparaLing theLwo is difficulL.

@.'\ Low is shedoinq, DocLor?

7he'e doing well.7he'e receivinqher f,realmenlae advieed, and I

expecl her lo be

discharqed early.

-.^@-:

r lfuqI

SeVaraLin7l,he lwo, huh?

WelL we had a litLleehocking evenl.

W ell, um...l'eheh eh...

What,hapVened lolhe director?

ltello,Oeleclive.

Mffi

Mffi

(E\ [.t

low arethey?

Well, Lheir cernenl mixlureseems somehow off. , .--\

rc\(

Do you wanL to hear whal I

know? Gen drew Lhe parodyfrom memory, eo he 4oofed,up lhe poeilioninq of thedeleclive and r,he doclor.Tee heel

Realistic manga is an experimental work, where the artist can play withexpressions in lines and planes. Thus, parody manga may have more ofa sense of volume (wry laugh).

Nanmaida

1 (Duddhiot

\ prayer).\Nanmaida.Vmen. Amen.

boom,boom,boom

A parody of a sentimental ending can look like...

eorry tolko. Thie collecl,ion ofshorls is out of print andcan only be found now aLuee d b o okeLores, onlineauction sites, or reissuedpublication oiLee.

@

Special Bonus

Mix and Match to lmprove Facial Layout Skills#ooYou have probably gained an understanding of how irnportant the facial layout is to a super-deformedcharacter. So now, let's work 0n your layout skills using this special bonus supplement mix-and-match.

You'll have even more fun using eyes, mouths, and other features that you draw yourself. play aroundwith different features and try designing your own facial layout.

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Afitenruordooffi.{s fe !,:nr,x s aufior, I sincerely hope you have acquired some

ffirr?:;a:o,r of super-deformed characters. Still, I realize that you have

r***- iirrc,rced to only a portion of stylistic techniques given thermrmr]'s of U'rat presented in this volume. To understand super-m,i:rec cnaracters, an artist must staft by gaining thorough familiarity,rurrff :e aqtJal human form and realistic drawings. Realistic drawingsn'ru}'rr rle tansformation of the original picture or photograph and,

Hrse:Je'nty. are rather easy to draw. However, drawing superns.i:red cnaracters requires that the artist overcome various

:::rx[-ars. so they do take exponentially more time to draw than,?fr si,r Crarvings, Simply drawing and abbreviating is not how to create

r s;88..-,0€formed character. I personally believe that a character willqx r:,nC and last for years to come if it is executed in a manner thatahr*s i to live within the world you created. I encourage the reader to

;::;i:E sriper-deformed characters with even more interest and appeal.

lnst Profile: Gen Satoiar :eoLted as a manga artist with his " Gundam" parody work, " Bakusho Senshi SD Gundam" (Riotously Funny

lulir*r:r SD Gundam), published by Kodansha. Sato is currently active as an anime and manga creator as well as

r r-s:r-uctor of new generations of aftists at various trade schools.

. 'lrif,l'rne Projects Participated

lle-a,o Doremi Dokkaan!'("Pestering Witch, Kaboom!"),'Ashita no Naaja" (fomorrow's Nadja), "/ppafsu Kanta-

r;-n 0ne-hit Kanta), "Sfln Lupin-sansel'(New Lupin llll,"Sutajingaa" (Spaceketeers"),"Gatcharnan ll,",rv;redy Monogatarl' (Pink Ladies' Story), "Asflta no Joe llffomorrow's Joe ll), "Ucltu Senkan Yamato ll'

Ha:e Battleship Yamato ll), " Zendaman," " Ginga Tetsudo 999' (Galaxy Express 999), " Ucltu Senshi Baldios"

Scam Warrior Baldios), " Sengoku Majin Goshogun" (Goshogun, Demon of the Warring States), " Daioja,"

s-ryiam ll," " Gundam lll," "Votoms," " Cmsher Joe," " Kyojin Gogu" (Giant Gogu), " Dirty Pair,' " Futari Taka" ffwo-am'ksr. " SD Gundam /' through " SD Gundam Vl," " Maitchingu Machiko-sensei' (Miss Machiko), " Manga

*, nete Monogatari(First-Time-in-Manga Stories), and many more.

. Domics

-psumi!Watashi no SarDoi' (Goodnight, My Cyborg Boy;Tokuma Shoten Publishing Co.), "Aidoru Tantei Hirashi

'r Snakase" (Leave it to Hiroshi, The Dashing Detective; Tokuma Shoten Publishing Co.), " Famikon Hissho Doio"Earnrly Computer, GoAhead and Laugh;athree-volume series published by Kodansha Ltd. Publishers),"Bakusha

-??6hl SD Gundam" (Riotously Funny Warrior SD Gundam; an eight-volume series published by Kodansha Ltd.

;-clishers), " Mina-san! Banbaman desu yo!!' (Everyone! lt's Bomberman!!; a four-volume series published by

rodansha Ltd. Publishers), " Binpatsu lchiban" (Best in Hair; a two-volume series published by Kadokawa Shoten>rbiishing Co., Ltd.), " Famikon Tanteidan" (Family Computer Detective Squad; a two-volume series published by

l*ta Publishing Co., Ltd.), and many more.

. 0trers$ippen no Miko-chan" (third generation of the commercial manga characler),

i'flovie: " Tokiwa-so no Seishun fl-okiwa: The Manga Apartment; served as manga production supervisor),irlrppon Television FAN (as program illustrator, etc.)

We're covering animale inHow lo DrawManga:Suoer-DeformedChLractere Vol. 2ll

LIS $19.99

About the Author

Gen Sato debuted as a mango artist with his"Gundom" parody wotk,"Bokusho Senshi SD Gundam"(Riotously FunnyWarrior SD Gundam), published byKodansha. He is currently active as an anime andmanga creator as well as an instructor of newgenerations of artists at various trade schools.

m nir. howtod rawman ga. compowered ,, JAeAnUme

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