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HOW

T0

DRAW MANGA: Super-Deformed Characters Vol.

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

02-0073 Japan

Cover lllustration:

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:

Planning Editor: English Edition Layout: EnglishTranslation

Masako okubo HideyukiAmemura Kuniyoshi Masujima (Graphic-sha Publishing Co., Ltd.) Shinichi lshioka Linguafr6nca, lnc. (an3y-skmt@asahi-net.0rjp)

Management

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
2+1

Co., Ltd.

02 ltaka-cho, Kawaguchi-shi,
+81 {0H8-259-3444

Sdana &P{022, Japan

PtrE rFa

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lllEtr

scesol4aime.com

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A.S.d m04

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Co.,

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of Contents

o
lilmambr
1

Chapter 4

llultmt El"E

-' : : :
:i-: ::;r
-

"Super-deformed Gharacters"?
Super-deformed Character" ...,...,................ 6

Super-deformed Character Odds and Ends

Let's Compare! From Realistic to Hyper-Stylized .... 1 14
Special Bonus-Mix and

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

Match

........122
..................127

stic

Drawings

.........................
1

I
0

Afterword

6's*:c - g Characteristic Characters .....,....,.....,.....

2

ln-Depth Look and Short Lesson

Iilimmpte,r

ln-Depth Look The History of Super-deformed

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

;i-xnex'-def

Characters
1

................. 16

ln-Depth Look: Meditations on the Name "Moe" ...... 18 Short Lesson:Are the eyebrows more expressive than the

ormed Character Building Blocks

--' i.is Bring Life to the Character.........................21

-;l a fuce!
0ut

...............20

mouth?

...........26

Short Lesson: Giving the Face 3-Dimensionality,

Even

......,.,,,.... -'; l: e. Moring Mouth.

,*:sias S:Ck

..................27 ..,..,.,..,.........
31

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 ln-Depth Look:The lmpoftance of the Silhouette

--* las
-ii

Reflect the Artist's Pers0nality....................

37

ri_r 3S and Distinctive Si1h0uettes........................ 41 out the

L..
11....

43 44

::,-:

-,ir : i'iangle to Lay

Face

,,.... 46

cf Caution in Drawing Super-deformed .............. 48

Short Lesson: Drawing Non-Japanese Characters..... 50 ln-Depth Look Changes ln Facial Layout According to Age............................... 51

:-":-:ers......
uta

S,,Eer-deformed Character Building Blocks 2

ln-Depth Look: Super-deformed Characters

-:ining

Balanced Pr0p0rti0ns............................ 54

at High and Low Angles ...................52

ln-Depth Look: Shading Super-deformed Characters.... 53

l*,"es of

Representation

......,.............55

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

Shoft Lesson: Mismatching to Create lndividuality.... 58

ln-Depth Look Modifying the Headto-Body Ratio

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

to Poft ray M0vement..,...................... 64

C,tmpter 3

ln-Depth Look: Super-deformed Robots ................... 86 ln-Depth Look: Super-deformed Characters and Hand Stylization ...............,................ 90

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

I

S,

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

soffi

Super-deformed characters are oodles of fun!

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.

o ooo&o What are " Super-deformed Characters

Chapter

"?

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.

ooo

ifferences between Super-deformed Characters and Realistic Drawings

D

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 llr

Character

To portray a character in motion, use a 4:1 head-to-body

ratio

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.

,6
t-,, f-1

@.'
tt'

*-V)l

Jr

,,t'

'(,

,b
Good

e c.
Not good

Audaciously stylizing the character in that super-deformed way results in a well-proportioned super-deformed character.

*o*

Developi ng Characteristic Characters

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

"Cute"

L.

Assorted Eyes

rv

;to*

Body Bu ilds

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.

OO
(--J
o o

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o
Llza

\(

).4

oo
.4
aa

o
o

F.#fry

Builds

(r,

-z

\_

<-

I 131

Using Stylization to Bring out Character

ldiosyncrasies

-\ /////

// t ///
//

| / /

sd'
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rlr

/'rrr\

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j

ln-Depeh Loolr
The History

d:lS$p*Td$f0r
M^l.t^ traceahle +limtla

arg6t&t

r^

-^ ^i^ira ^4 ^^-^^^* The origins of of mangaare regarded as

+haaa limi+n aan ma.,!l Ia tha timits, nai and ^6^^r.lih^ 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 *ririr} work yfi!;g&i9,n19ttgt1t1trqasf"tro,1llll1ltl1ffiff1: satirical wha ffi1""""""'".'i::iii:"i':,. as "Scrolls of Frolicking Birds and Animals").

*^^-r^i

*lrr

, ii$f(&

while these,sdr$s:sl. w'bird$,,a.nd,,aniuals

are also abH,fui,

anthropomortihti,6(qn$,qr!iq!it,!g]lfq,,,!!ulrqu'&..6i'l0q&tffi&ffig|*i*(9 *,arrtiehi0s1$eilit,rlren$ircll$Q ffirlttlffigr*qllqii

mimicking,:hffidd:

:rllll0ws(:l&&i&.*

qr$i.!ga&a!!0.:Q!!&i ii.@d:'il
yqul,.,,, sil!talrl&u$..Q..Lg!{[.' $:!!!atr]cqqqe,

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&

::::t::i::rri:ii:$srimi.tsi&sld0iin:|lgtlii{igq{F,q:lr:i::ii:ti]l wil.il IIUUr(riln, dilu UtE alluut utEdtHlg IItt, (rrtrrru Dliriill tu rriorutr ur rruw rrgurcD ,/ / may be distorted these set boundaries. diti:iiti:ai,iaiii:ii r Annnrdinnlv ctrlizatinn Lc / M a n s at : |ll i:extemi0rjt0i$m:g$ mgn iii1i;lil;ii.fscefd1i

wonderi16:it wondering "Wouldn't trris

iiiiiitif :if :.aiii*Airiiiiitiillil,iidil lik itilreaiif;*rting

courir:rhap&lrl$rlrci$,.$lrmi

w vrvqlu interesting srtusrrvrt, rilLsrsgurrv sifuation," qrv and using ugilrv people PwPrv to these situations can be : :::il credited
{ tt

i l ii:':tir,.lit i $:i*t _i":,:::'^:::::::^^ create

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

:.::l

ti,:r

lila'1rii a technique

:0,t1 :::::::,X:l}:',i.li:riii::i,r.:r,,'i,,::.i'ii within ,/ boundaries. . // / tn"t n

$!Il3&gl1e11; /i:i1"""""""""""""""".'

t-

r,l,,.l.,l:tt;llllt:ti.l canbe .,ti:t:.ll.:lt:,;irff1:l /\ ----\ \ with ,/

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

^^^^^i^i+^./

/l \ I Lf\ --1a \ ltlllll/ Jt \:ltt* [l;

,

I I

I I/ l I
I

I I/ I

r'itrir:r(r:r.:l

!:,.'.a.r,liY

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

Yet as one might

.enderings have their

tilXlrilr|Ilfim

n5 mmfton.
mOSt

'ffilrE

",8'Bfl$r,ffi-(EloffIl '*f,MlIrST adfigtd'still

mrrarE Sernents 0f
,mmutlilfmrlnn

Manga

fims 21q 3lgng lllilfimln*r 3l'l just when

nfiE r. rai stylized lr,liffiinEr-! rnarketed

wsqrs and mrrnia.:aj products mMm :Cftl6lity?

ruu

ne -arese

word

TJ

whrre''meaning
tm,,nl]=*:n'fifSt tMT6 r= USe around
llllilmm

::rr,'e

of

be hit

umm ' "bhu senkan rrll@:Tm' ,Space

ffi*slpYamato).
rysaf. drew copious amounts ofr'parody manga mmrrc 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
T.-',mse

to be sold in product form.

frmc

oroducts were dubied,the "Q RobQ" (Q,,, series, and I iontiibuted the designs of'

SD proiect, and cieateO a significant numbei ot stylized designs connected t0 the "Gundam" series. I was later employed as head of a different project involving stylized characters under the same toy manufacturel which enabled me to work on stylized designs for products, product logos,

stylized characters to be transformed into &!-Eai machine prizes sold by the same toy .lmr-:acturer. These.charactersturned-$Umbailrfl-prizes include Q,,flobo Gog, and ,0 Ro,bo irar. as well as other ultra-stylized anime robot
lm,,,,,,,,,,,,,r:o-s

and other matters unrelated lo mangaor anime, and I continue such work today. It is owing to this legacy of stylization that the previously disparaged parody and stylized artwolk gained their deserved respect and now enjoy recognition from many mangaaid afiiryle ,,,,,, ,,
aficionados. Now, 27 years after I began my own stylized

.,,

ffiryal

years afler'ihe 0l Robo:lseriei,

anaheiioy

n:'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 the arcfiing of this SD; how..over,,! did Jater,ioin the

artwork,l have been entrusted wiin the writing

of this book.
@ 1995ASMK

'

In-Depth

affection as worlds of qualitatively addition t0'

coso#o
Super-deformed Building Blocks: The Face and Body

Chapter

Cheak out the mix-and-

matah lound on page 122

at, the end

of

this bookl

What a Facel

i,:O*

The face plays a very important part of character design. ln the case of a super-deformed character, the face should be something that the viewer will find disarming and evokes protective instincts. To put it

simply, a super-deformed character is one that contains many elements that will elicit feelings of fondness in the viewer. Accordingly, the way each individual facial feature is rendered becomes very impoftant.

**,:
.{illli

Ei,es Bring Life

to the Character

:':ernely individualistic, varying from person ,: :q,'ii-'- -st as the eyes of Asians versus non-Asians
ilffi*ilr"
ril

i':

- . :: -;

ieved that most individuals can be

il]'': - .-:d
"r

:r,

ir

:,: -::

simply by viewing their eyes and facial s look at a number of different prototypes the eyes,

i:a,,,

@@d
,

:pular Eye Expressions

',t",4

_/'-'--*\, ----*-""

o Ar
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tt

@a
],

Lc",
-4.-1

Remember: Ihere ls More to the Eye Than Pupil and

White

;ttttttt-"

Fold or No Eve Fold

lashes

p
dBfirter wih

@ \-*-#
'..

\-l

'

Eye with Underneath and to the Sides

By gMng particular emphasis to the various eye components in this manner, you will be able to imbue your individuality. You'll also have lots of fun exploring the different moods projected by rnodrfyrng 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-

r1 .t I it ',1 'lt i
J

match found on page 122!

Eve Fold Emphasized

Wrinkles Emohasized

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

/Zr fm .T

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 eyebrows lose their tension, causing them to shift downward 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

::
:

@'
//l

>: - s"sec separately.

t-.-

rffirtiruuurmm qres s0 large,

dmrrmmrls rm physically possible in the realworld

r-r''Ek
r.rsed

rilffifir|iofii
fllmilffimE0
llmlflffi]tt

ruUuesrtg an emotion.

Mher. these are the results of embellishing subtle movemenis parts in of the eyes or face

in lieu of drawing eyes, or shapes totally in disregard of musculature. As

fiey extend beyond the facial oufline, tears pouiing out of eyes tike a
I

are often frequenfly found in stylized artwork.

tflM mday we live in an impassive age. However, I would ask that you pledse pay careful attention lmrHrrlll6r d he eye move and how when you draw emotional reactions.
lfllililflnruflfi

rrs

*t--t--r"_____)

t,

Short Lesson
Are the eyebrows more expressive than the mouth?

*o*

Beginning artists will need to understand that eyebrows are not merely "lines."
During the course of my work, I often see students' and young manga artists' work and have noticed that as of late that eyebrows are being less and less used to suggest emotion. Now, I do realize that plucked eyebrows are all the rage in Japan for both men and women, so using simple lines to render the eyebrows might be reasonable from a stylization standpoint. However, the truth is that this lack of individuality is detrimentallo mangaculture. Make a distinction in your mind between pop culture trends and individuality while you are still young and learn about the differences.

The eyebrows are highly expressive

of

,_-

individuality, regardless of whether the character is male or female. You might notice that in the case of super-deformed characters, the eyebrows are even more expressive than the mouth.

Extreme Emotional Reactions

Friendly /^\
It

Friendlier

UO

?6G
///zzz,

Assorted

Q
@

------\

\*> oo #'."6
/\.

Widen the distance between the eyebrows.

/'--\

A t,
O +

/-=---

s'

a( @ @-

/-\

z-\

o 66
,-

More concerned

a o
-

P2

The eyebrows overallare lowered and drawn touching the eyes. Generate a look o'terlsion on he brow.

"'r*

:o
Llut"r

ISES
q":.,

Stick 0ut
for Distinguishing Facial Features

,ry;-1h ng
"i' llm :'? ,r r,*,r,r

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.

-;

e'lnning

:*':

)- ,,,^

,l

(a a

*i*ehte Noses

Detestable Nose

..ir

r'l
L

lri -:

-,-

nOSeS pfOjeCt

',

t:l: -:'ession.
Large, angular noses seem eerie and strike the viewer with fear.

!lorts

Easily Portrayed through the Nose

,C-)'"

C)n /H

A\4
O/
/

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.

*t-

) \

(_ \-

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.

. ( r-^\
Nose Symbols

-tr:
//t A
/r\

Co

^a

i ;rr?55inrg with the Nose

1,{llllr

il$ *,"

-,tsi tos

not actually move, it does change color and emit

illllllliliilllrr'"lilll:i:'r:

:,-,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
lllllluliuu:rrriff[s;:;-.-t

rlririilulnL

cr awkwardness or red to the tip of the nose to underscore :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 the nose has other possibilities of poftrayal.

:i:s

,,"''t[ 1
luurur
Iil

:'ire's

color. Noses tend to redden, depending on the situation:

ilq =:: embarrassed, drunk, fall down and bump our noses, etc.

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

'\irroiy'
lilii"r,"

.:-i

iiillllll"

rl :i:.-

,'lOfdS.

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

il

-:r:

t-rr:,r

: emishes. Perhaps

:6^2

Nrr"

{ :,i: ctions of runny noses

have been disappearing trom manga of late,

ltmi,,

lr '*
,,

{ :,erdoing a runny nose could just make your character look like a

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

"

-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\

tt

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$

lt

oo
to o-

,\UA

D,h

the

Fi

Drunkenness

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

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.

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

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

a
,@
//t (J

,A

@ /tl
^\

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

;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

300
lllrrrmn

Agile, Moving Mouth

,il$illlttllllilllll 'rult8

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

/0.'e

'Tr 4'

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.

e,e
E
Decaved/Missinq Teeth +
Used with children and comical characters

.' ,e

(U,
_:-

Teeth
Used to add to a character's distinctiveness

,+

(-7
!
t

.,.e
Teeth
M

l:\\

5
Tooth
Used to add to a comical character's personality

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

lfr,uryn*rs-

r'ng

Unique Mouths

ffi

m0

\rrfO,)

Assorted Stylized Mouths

<Q>

q7
,e

1-*-)

/A-

_/\__

?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.

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!

,@

0 O)

Now looks happy

@O

\ct
,L\'

-.-.,/ +Z= gv

,LA'

*-h vv
Now looks persuasive -

fr----r,\ (G)

In-DeFth
What Do

childho0dl

.l&ia!l

Lineo

(daoheo) on a character'g face change dependinq on

Nhe aqe.

oo
tt t \ -l ,ll

Tne Ears Reflect the Artist's Personality

ilfltfltilrn "mmm

;oo
tr
:lltuutttr'iliilrtlnmr"T

assume fiat the ear is the part most difficult to distinguish the 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"

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

,:flrrrflllililmM's
illtltiffit161

4q1s .fie best.

ilmrmus Ears

D
lltrtiil*
Itttu

When you start out, use the ears of an artist you like as reference.

""sspect

iffi

'rmuill':

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

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

Assorted Ears

.llt

,c ry
\7
/lt

ttt \7 llr

tr

:\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

{0@

-Hfrding Elfin Ears

*rE
ears can be hidden mnlnd the hair, which alows a character conceal physical

1ls

:sdities from others. is a fantastic

mchnique both

ramatically and in
$Dry building.

Ear Expressions

Radar Ear

tltt

It,,

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.

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
book illustrations, etc. I i targe earlobes. For some
'e
p

,'.i'Ji$:HlH:x';l?::,.ffi rfc-{
resent elderly characters.

A ' _-A a- St lL-

-xb

-M lL/__,t :-

]-. 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

Ihouettes

3(tr0
tgittilflulltltrn umrnrmm,

mrmmfil

*rrodrfy our hair to suit our personal preferences by

rt up.

i[ Wrnq

or dyeing it. Thus, the hair is a great feature for

ilffiiriililililllllllMliliimriq

clnaracter.

lmr

,iur it[mmr*

lllllitiilimtmtrflflrM.

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

ffi ?ne hairdos of the lead characters in Ge ge ge no Kitaro,

Imorted

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

,tlillliulrlr

, 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'
+.
,LrLL

,ilIlilr,i,,,,

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

a

r,

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

llllltir:
,,q,,r*

:,:.

{u!ti ",-

.t ',- :u draw acharacter:is,Shadow.o!:,back',

at the 9r0up,j'1 p'g'g:''p-ortr-aBs:this:90s :,:;ing, but chanCesta&:&ti$0fn-e-itlme,yolt

-=
',,t1

\\ )

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&

so*
Well
I

Use a Triangle

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.

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

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.

fiink you'll gain some idea looking at the figures

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
\.., \\t/
\t l,

ery
\--"/ \\r'

frr'--tf '.n
\./ \Y/

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

'rlltililurr,*

rE

i -Fh floating around that

eyes large willautomatically :raracter "cute," but is that

mlllrrrLlr,,,lrrrnr
Irrrrrrirllllrruii

re

ililtiiiit:iiltiflriffi-'x
rli/lrrrlrt;lrr
tflrllr,

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

r :is

fie

case? There are plenty of

Small

:*

mrr,,

OO
/lt \-J ll'

,rrrlfir

titiir

icE*ut character stylization.

rirr,ii,

-E HfiB token, whether

eyes give a

;frliliff.?: a sweet face or not does not lllflrry-c cn fteir size, but on their position rrr p,rL-- Let's take a look at some
]iilllll"xrs.

B.

a
.A

- 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.

tl
\r.-rr'

ftuare vs. Round

Bounder, softer heads are more "adorable" than

squarish heads.

ao
\._/
.A

oo
^
\--l

Circle vs. Ellipse

A perfectly round rather than oval head is cuter.

oo
.^, \r-l

.^

aa
^
\r.../'

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

ttt

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.

:q
\l

t7/

:mtl11lmmlltntrrng

ffie Degree of Stylization

Character with Mixed Degrees of Stylization

,p

t,t

* i$e symbolized noses on super-deformed

Realistic Face

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.

lsosceles triangle

S= v)
@

iM,rw&
i$

tortltBr{orehead, mouth, and eyes character to convert him or her into

teehniques to suggesting age.

Preschool Aoe

to Middle-School

@!_\ rGL
(. -\

'een

to Mid-

EIderl

(,t*J

IltSuper-de.d
Needless to

d.l

I-Dcpth
i

Loolr

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

lffitgur are maintaining a sense of

im,$ullry

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?$91,$
1

{&ti:l{

iili:i:iiliiiril'i;rr''

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,, . .. ,. ... .,

0@

illip

ptay.

Takg11118tallineilhi$i&gq::iipf:niQanl:iiri:l:i:.i:itili:r.lirilil.i:.i:.t:liii::::iiiri

:::x::.:l::.,,':.
:::r,;rrlrrii:ir::r:r::,rr'
:ralt::lair:a::::::a::r'irrl

)A
CI
\

e
.
Make the lit areas light. 0ther areas should be made dark.

\\ ,rN

Back lit

soo

Maintaining Balanced Proportions

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.

" .

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.

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.

1:2
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

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

Here, the plumpness is to the point where flesh sags. The image can be somewhat disparaging,

he viewer quite often finds

but it is also a way of representing obesity that easy to understand.

(rg

Or

s\

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.

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.

4i

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

@efr-d*r:e s farhfully reproduced
ln manga, such tr oB{ l-r t,t,,la][Y used in moderate
m mlriro-

=a,sbc

-:m

Characters
ln the case of an adult female, emphasizing the curving at the

mnr

_:uSEesrlan ailing character.

hre ]tr:

1li'iE overdo this

look,

waist underscores femininity.

The pelvis should also be widened. Builds A through C above may be used for girls.

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

flllf,lllltu,Hr":,,

af

BU

iI

dS

Irr llltrllur
tiuintilllllflr',r,;

-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

,ulltrllr

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

-;\
o

: ^,-/

The arms are thick and the hands, small. The shoulders are broad and the waist, narrow. Use strong lines from top to bottom.

_(-

L
I

Girl
Emphasize the chest and the tapering of the waist to achieve the desired look.

Remember to Think in 3 Dimensions

: think.in volumes when

rrtality, and luster. Study bodybuilders and

-scles are not flat but 3: mensional, so you need them. lt is ".rawing "rnavoidable: muscles nnove and have shadows,

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

unique.

ltt

tll

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

-osi

(\r

Mismatch of a suited businessman with a boyish face

nt with

\'2 n-

J6 \;

r,tirthout meaning

;' practice, mismatches

iomposed using odd rropottions could "iave unfortunate results.

\_.-J!)

zL

\=---

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.

'9,

Aim

for a nalural

pofbrayal, uoinq
well-balanced

armo and lege.

lrsr"rpting Balance for Effective Comedic Portrayal

,iil;lllmrrrmlie'1

Cisrupting the balance may have

iltflfliJrluLs

eftmts in the case of comedic portrayals. a,t a few examples. [r:F ,tiilflfl":

Use

o{/a

W,6
Lens

@
g

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

\,,

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

-J\
tr' -r/ My leet have qone numb.,.

\L ,orr,

Loolr ln-Depth'.li1ii'x'*tli.ltl::i:.]lii:t
M o d i fy
i

III-trE;rlr1:l,!i-U9,Err:,..;lrl:li:::i;i1illtii;:r;it:iriiiitlii:;1;ti:r:i:tt,:r,:1;,t,l,

,\

nsr1; 61;ifi

r$ffi 6ffi

.::i:,,:il.,:titi:ii.:],i:]t'lti'.::ri.l,itllliilli:.,li:i:itl

tA*o

rtray,, M

ffi

6n
.i.

This is ; a co*inusiial1irffiihe$reii6_r$tdi$ contiiiiqatlq0.o{ilmpteti6ii$:disk$disi;:.;irlit.Aqp(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$:ttt0tpmporthns from the originql;liti.:i::rlilgl6ttdiii:g:tt! rli! :nP**01 .!i:iagogibulaM]]liasiii exacr n naturallv natu ral ly crircitrf cIrcliht iii:re;:i:liii:1i3:gt3[e,rmtir::9gg!:rt$:!ate:&rbe KUld:tSC'tak$ti:With,:$ffliAat00leii:t:l::i0f 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.

:l

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..,

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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

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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

,;,

Draft

%
Dratt 2

'deformed Character

Realistic

-'7b
'G',l 7 ,2:.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

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

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.

The creator certainly does face a number of difficult issues.

Draft

'deformed Charactef

\9

ffio#

Super-deformed Characters and Stylizing Clothes

it has

Up to now, we have been focusing on super-deformed character faces and figures. However,

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).

G,,9

Clean and Fresh

and

L
Long Shot

Glose-up

(r

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
{iillliiillr
ifl
1"

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

: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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Dress

School

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Gir!'s School Uniform

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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.

#oe

Super-deformed Characters and 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

0ommercial Buildin

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.

rT--1-=T-1

il]-n rrrn

----r-T-l
Store

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.

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
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
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

PC

Could be a Mac

a Self-built

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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Completed Superdeformed Character

In-Depth
Transfo

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Imaoe

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Character Profile

In-Dcpth
Super-defor

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The human

complicated numerous movemen*

encounter,llri

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0n ffie next few pages are stylized characters of assorted occupations and in various dress to be
used as reference.

ooo

Posing Super-deformed Characters

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

characters were s0 clearly expressed that one could glean what type or role he or she played in a single glance. The schoolyard gang leader, probably soon to be designated an endangered species, is one such character. And then there is the pampered rich kid somewhere in his entourage. Fujiko Fujio's method of drawing out a character's individuality to the max, which is considered proper practice, is still continued in manga circlestoday. Fujiko's characters are so terrific that even those picking up his work for the first time are able to understand the characters' roles. I mentioned this earlier, but this is what defines a character's distinctiveness. Characters that the reader visually cannot discern who they are and what they are doing will not last years down the road. So, what prevents you from trying to create your own characterjust saturated in individuality right now?

d
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'6 re',.'

Q
pq

When the subject of boys comes up, I can

t,

think of numerous characters to create

using exaggeration techniques: an imp with a sword; a spunky, brawling, scrape-covered scamp, 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.

\,;

A,r)

N
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Doctors come in various forms. There are kindly doctors and quacks. For the latter, draw the doctor hunched over, to suggest a sense of danger like that one might find in a darkened alley. However, take care when drawing the character hunched over that the figure rounds only at the shoulders and not the small of the back. (0thenrvise, you will unfortunately end up with an elderly character. A definitively different style of bad posture is needed from that when created elderly characters,)

4iC
As when drawing a boy, exploiting minor distinguishing features can suggest personality differences within a given profession. For example, even amongst

\il

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police officers and detectives, there is a wide assoftment of possibilities: a respectful 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 disparity between the otficer at work and in private, as is shown in the illustration.

/1)

A schoolteacher is regarded as a

sacred profession. Still, a little

tinkering can create a character such as Kinpachi from the TV series "Sannen B-gumi Knpachi-sensef' (Mr. Kinpachi's Third-Grade Class); a straitlaced, 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

/'-)

nu

What you see pictured here are simulation game characters lcreated approximately 10 years ago.Atthe time, stylization techniques where still being developed, which is probably apparent in these images, but I 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 characters in " 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 if

fiey tried.

\31

These too are characters

I created about 10 years

ago, so stylistically they

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look a bit different from what we have today. When I designed them, I had given due consideration to their roles to make them distinctive. Again, I hope you find them useful as reference.

'!/-...

-i

,lumq

m!ffi @oglze for putting these characters in the reverse order. 0n this page appear characters I created ment stylization techniques. You will probably notice the different degree of stylization and handling

wpt

mr

Ms

to those on the previous 3 pages. Monsters are a type of ;cilil$lde), so it is acceptable to handle their stylization the same as you would a human heavy. mte, lpwever, that how you execute them will affect whether you make them scary or lovable.

wk in fiese characters as opposed

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.

@\ /f, A

,o

ffio&

Super-deformed Character Gallery

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 never used (wry laugh).
I am not sure how appropriate the phrase "children's program" is. However, these characters required an

unusual execution, whereby the figure was to appear flat and yet rendered as if seen in 3-D. To explain this in simpler terms, the characters were to appear as flat, two-dimensional objects. Color was also handled 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 flat character 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 character must first be regarded as a flat plane. Then, the character must be regarded as a 3-dimensional object that is able to move, in order to make a child's fantasy world come alive, where the child can play with the character. Consequently, an innocent child would sense a clash if one were to use heavy-handedly the methods of head-to-body ratio adjustment discussed previously. Hence, this was another point that needed attention. Stylization intended for children's consumption is extremely complicated requiring subtle balance and involving issues unthinkable for normal stylized characters. Even more, execution of these characters requires awareness of using clean, carefully placed lines thickly drawn to a certain extent, rather than thin detailed strokes, and it is not an exaggeration to say that stylized children's characters are absolutely the final goal of this book.
Please note that our discussion of character execution as it appears in this book is still incomplete, and hope to cover more in later volumes.
I

Super-deformed Character Design for Gaming

""ress are from the unreleased character profiles game msqned for the " Dokapon Gaiden" some
Mrriie ago.
I

tre characters designed for the SLG $snssed earlier, these characters are stylized
-u"xti{e

fie assumption that they would have to be mpable of motion, since Dokapon required a certain ffiqree of movement. Thus, I needed to achieve raance in the degree of stylization and to execute fe joints believably.
mrder

The

arlisl

has Lo

think abou| the

ch a r a cNer

correctly.

o' ely lizaLi o n balance eo lhaL he or ehe can ?ortray action

@ 1995ASMIK

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Super-deformed Character Design for Gaming 2

j"
sl,'

rese

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

ffi

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o o*offio Super-deformed Character Odds and Ends

Chapte r 4

ooo
Ftere

Let's Compare

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.

just can't lronically, I do draw considerable amounts of regular manga (chuckle), but for some reason I 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 tyVical ohoppinq area. bul,to her, it, musN be like a children'o amusemenN park. SLill,l enjoy oeeinq ouhere ha??y.

Hey, eince we

came all t,he

Um...l gueoo.

way to Nhe big ciLy, can I do a

little

ohoVVing?

Wowl Even

the peoVle in

lhe sf,reet are otylizea.

./\. frrs) .V

Note that the backgrounds are also stylized.

l,ello, DetecLive.

;t
i t-

/\ -----

@ @ @@ @@

UnforLunaLely, if rhe memory of the murder is

expunqed, any recollectrion of her molher will also

@.'\

Low is she
doinq, DocLor?

vanieh, eo eeparaLing the Lwo is difficulL.

7he'e doing well.

7he'e receivinq
her f,realmenl

-.^
@-:
I

r lfuqI

ae advieed, and expecl her lo be discharqed early.

9o, can you iell ue

whal happened to that, kid, afLer

Lhat?

SeVaraLin7

l,he lwo, huh?

WelL we had

a litLle ehocking evenl.

What, hapVened

lo

lhe director?

W ell,

um...l'eheh eh...

ltello, Oeleclive.

(E
\ [.t
, .--\ \(

MM

ffi ffi

Well, Lheir

cernenl mixlure

seems somehow off.

rc

low arethey?

Do you wanL

to hear whal

know? Gen drew Lhe parody from memory, eo he 4oofed, up lhe poeilioninq of the deleclive and r,he doclor.
Tee heel

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

Nanmaida

(Duddhiot
prayer).
Amen.

\Nanmaida.

Vmen.

boom,boom,boom

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

eorry tolko. Thie collecl,ion of shorls is out of print and

can only be found now aL uee d b o okeLores, online auction sites, or reissued publication oiLee.

Special Bonus

You have probably gained an understanding of how irnportant the facial layout is to a super-deformed

#oo

Mix and Match to lmprove Facial Layout Skills

character. 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 around with different features and try designing your own facial layout.

AG
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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 the rmrmr]'s of U'rat presented in this volume. To understand supercnaracters, an artist must staft by gaining thorough familiarity ,rurrff :e aqtJal human form and realistic drawings. Realistic drawings n'ru}'rr rle tansformation of the original picture or photograph and, Hrse:Je'nty. are rather easy to draw. However, drawing super ns.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..-,0formed character. I personally believe that a character will qx r:,nC and last for years to come if it is executed in a manner that ahr*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
iar

Profile: Gen Sato

r
.

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

'lrif,l'rne

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

lle-a,o

r;-n

,rv;redy Monogatarl'

0ne-hit Kanta), "Sfln Lupin-sansel'(New Lupin llll,"Sutajingaa" (Spaceketeers"),"Gatcharnan ll," (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

*,
.
'r

/' 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

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

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

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

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 in How lo DrawManga: Suoer-Deformed

ChLractere 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 by Kodansha. He is currently active as an anime and manga creator as well as an instructor of new generations of artists at various trade schools.

m nir. howtod rawman ga. com

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