MANGA Vol.2 Logical ProportionsIntroduction “Composition involves first establishing what to draw." (Morita) Composition has an aspect of constantly searching, specifically regarding what to draw and how to portray it. However, at the bottommost root of composition, the artist still decides for him or herself what to draw and how. The head-to-body ratio and figure proportioning develop from this most basic element. Sketching as a composition technique that paves the pathway from the earliest stage of determining what to draw to the completion of the final drawing.Table of Contents Chapter 1: From the Head-to-Body Ratio Sketching Desk....5 Head-to-Body Distortion Marks the Origins of Manga, Endearing Head-to-Body Ratios for Chibi Characters ...1.8 Attractive Head-to-Body Rati0s ...n..snneenn 9 From the Artwork Drafting Desk... nel Drawing a Character in a Gym Suit: 1:2 Head-to-Body Ratio... aed 12 Drawing a 1:2.5 Head-to-Body Ratio Character Wearing a Skirt coon eoeeran 16) Drawing a Brawny Character: 1:2.5 Head-t0-Body Rati0.....snnnsnnnnenn 20 Character Wearing a (School) Regulation Swimsuit: 1:3.5 Head-to-Body Ratio.. 22 Drawing a Character Wearing a Sailor Suit: 1:4 Head-to-Body Ratio. soon 4:5 Head-to-Body Ratio Study SketcheS......nmmnenne26 Drawing a Character Wearing a Jersey Top and Jeans: 1:5 Head-to-Body Rati... o 27 Drawing a Character Wielding a Sword: 1:5 Head-to-Body Ratio, 30 Drawing a Character Running: 1:6 Head-to-Body Ratio... 34 Practice: Transforming a 1:6 Head-to-Body Ratio Character into a 1:2.5 Head-to-Body Ratio Character.....36 What Are Proportioning and Sketching?. 8B Three Key Phrases in Improving Sketching SkillS ....n43 Chapter 2: The Basics of Proportioning. ceeetioarinel The Head-to-Body Ratio and Proportioning ..urnA8 Attractive Proportions: 1:8.5 to 1:5 Head-to-BOdy Ratl0s .n.nn son Chibi Characters: 1:4 to 1:2 Head-to-Body Ratios... Chibi Character Proportioning as the Basis of Head-to-Body Ratio Sketching... se 60 What Is Meant by "Chibi Proportioning"?.......neeu61 Drawing the Face: Sketching and Stylization.... 64 Drawing the Full Figure: Sketching and Stylzaton.....66 4 Drawing the Clothes Da Vinci's Proportions. Proportional Sketching from Low and High Angles. Low Angle Compositions High Angle Compositions High and Low Angles. Putting Low and High Angles to Practice. Chapter 3: Stylization for Use in Manga............. Three Elements in Portraying Motion Drawing Common Actions. ‘Manga Styization to Portray Actions Five Common Stylized Postures Running: Five Postures Jumping: Five Postures Landing: Five Postures.. Stylizing Gestures Stylzing Emotions Exaggerating with Facial Shadows. Using Facial Shadows to Enhance Emotions. Chapter 4: Character Design and Color Design Character Design as Role Assignment. Designing a Family. so Role Assignment and Character Design Redesigning the Characters with Chibi-proportioning Putting Attractive Proportion Designs to Practice: Artwork by Kazuaki Morita... Coloration : Coloring the Cover ilustration Putting Colored Pencils to Practice: ‘Artwork by Hiroko Shioda, Sample Novelty Roles: Creature Gils... 78 90 92 92 93 94 98 m1 12 14 120 20 121 123 124 126 132 146 ol AT 151 152 152 1 6 160 162 169 171 175 180Chapter 1 °° | From the Head-to-Body | Ratio Sketching Desk Designing the head-to-body ratios so that they allow the viewer to distinguish between the various characters allows the artist to work in a variety of genres as well as to design characters that suit the setting. Manga sketching lies at the foundation of this technique, This chapter covers using manga sketching to design a character's head-to-body ratio. On that note, we ask manga artist Kazuaki Morita, who is currently active as both a first-rate character designer and artwork director, to step in and offer a litle guidance.Head-to-Body Distortion Marks the Origins of Manga The head-to-body ratio constitutes the stylization of the character's figure proportions. ‘Manga is fll of implausible things, movements, and thriling scenes. The entertaining world within a given manga derives completely from stylized representations, including the characters’ head-to-body ratio. Ultra Stylization through Head-to-Body Ratio Modification Chibi Proportioning (1:2-1:4 Head-to- Body Ratio) (1:6-1:8 Headeto- Body Ratio) Make an effort to stylize synthetic ‘objects and animals as well Two Styles of Proportioning Competing on the Same Screen i 1.2.5 head-to-body ratio. Character with realistic proportioning 2neatnsny / ratio character | / dp afk Character with fantastic proportioningG TOES i aS ; : ig a Car i | Y . VY » LF} ; Qi. 6S WG. Assorted Representations Resulting from Stylization ‘Stylization of the head (Mouth shape modified and drawn at a colossal size) ‘Stylization to portray a fantasy world or a fairytale world Anthropomorphized styizationEndearing Head-to-Body Ratios for Chibi Characters The unusual proportioning defines chibi characters. The large face (nead) ives chibis their distinctively childlike and adorable appearance. 1:2 Head-to-Body Ratio ‘This proportioning is frequently used for characters in marketing to represent a product-ne, characters in cutout frames, YL] ate Z a eae 1:3 Head-to-Body Ratio This proportioning, which makes movement |. portrayal easy, i A 7] ‘requenty used fora wide - rang of genes, rom 1 cutout rames and book — ‘and magazin ilustations : to manga. 1:4 Head-to-Body Ratio Commonly used for characters in jo ‘manga (manga targeted to young children), this proportioning lends itself to elementary school and junior high school characters,Attractive Head-to-Body Ratios This proportioning reflects that seen in real-life and also appears on idealistically proportioned characters. It is. ‘commonly used with the protagonist in manga and anime. 1:5 Head-to-Body Ratio This easy-to-draw head-to-body ati affords the widest range of variation and frequently appears in manga. It should be noted, however, that this proportioning will make even adult characters appear childlike. , P) Sesion =>) / hy ky WO Ly @€) Toy a“ i This stylized / \ vason he 15 \ ratio is frequently \)\ teen irate and / universaly in i) \ ‘manga character é vara IN Ths vere { vse or state seul sh characters used in product marketing1:8 Head-to-Body Ratio ‘This isthe proportioning used for adult characters. 1A (| Suited to book ana ¢ ( ‘magazine illustrations, the 1:8 head-to-body ratio lends itself to Portraying dynamic movements, as the individual body parts are proportionally larger. When drawing a full figure in manga, the ‘pace available tends to be limited, requiring that the head be drawn on the small side This means that the artist needs to use a tle ingenuity in portraying the character. In manga panels, the heads of ‘characters drawn at a1:8 head- to-body ratio tend to end up too ‘small. Consequently, artists opt {or a 1:6 to 1:7 head-to-body ratio, so the facial expression is ‘easier to see. anFrom the Artwork Drafting Desk artwork by Kazuaki Morita his section takes a look at an artist at his desk, designing chibi characters pf varius head-to-body ratios. The steps to composing are essentially the same for characters of all proportions. Drawing a Character in a Gym Suit: 1:2 Head-to-Body Ratio (Sketching a Circle-and-X Layout and the Neck (Shoulder Width) ) The Steps 1. Sketch the head as a circle-and-X layout and determine the shoulder width. 2. Sketch the figue's exterior contours and roughly draw the face's contours. 3. Retrace the lines, adjusting and cleaning them Up to complete the sketch: 3-1. Adjust the body's contours. 3-2. Adjust the face's and head's contours. 3-3, Carefully clean up the overall igure. 3-4, Add final touches tothe face and detailed 4 areas, OD The above shows Morta drawing a circe-and-X layout ofthe head. ‘Always start withthe most elemental step when sketching = ‘manga style. Next, Morita determines ee shoulders’ width. This constitutes a key point in establishing the character's, head-to-body rato. Begin drawing only after you have veloped a clear image of the character in your mind. (Le. decide 2. Sketching the Full Figure Layout and the Head Layout. Ee ee i f Use light strokes to sketch the posed \ @ figure's overall layout sa \ Headband layout Morita adds the hair 3) uiile adjusting the yen sketching the face and head layouts, Morita adds head's contours. ‘faint strokes to suggest the facial expression and hair. 123. Retracing While Adjusting Contours 3-1. The Body While more clearly defining the hands and feet, Morita sketches layouts ofthe gym suit's design features. @ 3-2. The Head nce you have defined the head's exterior contours toa certain extent, establish the eyes’ shapes. Blotter paper Use iatter paper while drawing at times wien your hand feels sweaty. ‘The arrow indicates the direction Morita draws the haitine last in which Morita is drawing the ha, When attempting to draw smooth, cleanly defined lines, rotate the drawing paper to the most comfortable direction. 133-3, Adjusting the Figure's Contours Overall Once you have cleaned up the head and body's exterior ‘contours, begin drawing the hai < N= ‘The ponytail requires = tng smoot stokes, \ : so ota carctuly acs the ines while maraingtaness inedding te tistng 4s tutes Be characte, g ® @ Rounding out the comers causes the facial Next, Morita draws the eye's pupil and irs with Here, Morita uses hatching to shade the eye. ‘expression to change dramatically in reflected highlights, ‘appearance. Consequently, Morita draws the ‘mouth's contours with extreme care 7 Morita fils in the 8 shadow at the Coe 7 3 character's feet. ‘As final touches, Morita adds a few diagonal Morita modulates the weight ofthe strokes, lines at the cheeks. ‘checking the overall visual balance.Changing from Shorts to a Skirt yw" SS 4 ‘The above shows a miniskitin place of the shorts. Morita produced this version by laying tracing paper over the original drawing. Even though this is @1:2 head- ‘to-body ratio character, Morita carefully sketched a layout ofthe character's body Lundemeath the gym sut, allowing him to modify the suit's design and stil have it fit the character perfectly, ‘After producing a layout of the figure, Morita retraced the contours three to four times before arriving atthe final image seen here. When producing your own artwork, use carefully dravm, layered curved strokes, wile attempting o preserve a sense of the three dimensional tgure’s curved surfaces. Vo =. NS 15Drawing a 1:2.5 Head-to-Body Ratio Character Wearing a Skirt Sketching a Circle-and-X Layout and the Neck (Shoulder Width) = a ® 3 Fist, Morita crams a cicle-and-X layout Next, Morita sketches a rough outine to When drawing a chi character, omit the ofthe head define the head's shape more clearly neck atts stage and instead draw the shoulders deci touching the head Sketching the Full Figure Layout and the Head LayoutWidth) (@ Retracing While Adjusting the Contours») - A> Ahi 4 « / i \ WA . \ \ ® ‘Once Morita finishes the body's exterior The tors0 contours, ne moves onto te face. should be short. Here, Morita defines the body's exterior contours more clearly, A \® This ine ‘ |= establishes Sone : — = ® is 4 ‘Ona 1:3 hea-to-body aio characte, the nead and the torso ae essentially the same length. On @ Draw the face and hair ater character drawn at a 1:25 head-t-body rai, the competing the bod head shoul be longer than te torso. The legs’ length gives the chibi her cute appearance, making ‘where fo poston the grain a Key pont inthe figures design 16Drawing the Clothes After Morita has finished the figure, he adds the clothes. First he draws the pantes, Clearly planning where and how the Here, Morita draws the waistline, Clothing is wom makes teaser wich plays a vial rte in to rasp the overall visual balancing the cating’ bedance proportions. The skin's waist and zipper are drawn according to wher the waistne is positioned. Next, Morita draws the skit’ outine. He uses a trapezoidal form that extends beyond the legs. The hem forms a gene curve, ving the skit a three-dimensional fel Drawing the Eyes Drawing the Ponytail Se S. ia having essentially 4 completed the character, a jns adding the [2 \ rating ee Manas a compete the face. light strokes to sketch a contour layout ‘While maintaining awareness ofthe overal visual balance, Morita, ‘adds small ines, layering two to three strokes over each other, ‘gradually building up and darkening the contours until he has achieved clearly defined ine. Morita ads the ends of the ribbons to finish the drawing. 17Final Image‘Switching Bodies ‘The above igure shows a more voluptuous body with slenderer arms and legs. ‘Although this i sil the same chibi character, modifying the body below the head allows you, the artist, to produce a ‘wide range of variations. This study shows the same head drawn on two figures of diferent nead-to-body ratios. Adjusting the eng of the torso, arms, and legs as well as thei thicknesses also ‘completely changes the ‘atmosphere that character Drojcts. 1:3 head-to-body ratio.Drawing a Brawny Character: 1:2.5 Head-to-Body Ratio 1. Sketching a Circle-and-X Layout and the Neck (Shoulder Width) D Morita sketched these strokes as he adjusted the shape until he was able to produce a Morimoto attaches the torso and shoulders simplified, satistying Grey tothe ea. oe chest. 3. Retracing While Adjusting the Contours \f oD »y \ \ : ow ® Morita adds the eyebrows Morita uses abstract, ‘geometric shapes to render the distinctive body contours created from bulky muscle. (B) Here, Morita uses a gently curved arc to simply the chests contours and avoid overemphasizing the musculature. 20 rendition of a muscular / \ Morita layers strokes to a after having first drawn the bud the exterior =] eves tayouts. contours, 2. Sketching the Full Figure Layout and the Head Layout & 2 Monta adds the shoulders using ces i | to represent the joints. When drawing a figure layout, use abstracted ‘geometric shapes to represent the arms and legs, assembling them into a body. y, ey Next, Morita adjusts the contours of the figure overall,‘Adding the Hair and Details Morita decides where to draw When drawing the hair, follow the hair whorl and adds it, ‘the head's layout contours, ‘Work from higher to lower regions when drawing around the waist and the legs. Finishing Touches Reinforce the face's contours to finish, 21Character Wearing a (School) Regulation Swimsuit: 1:3.5 Head-to-Body Ratio 1. Sketching a Circle-and-X Layout and the Neck (Shoulder Width) Line denoting . the spine Morita sketches the body's layout While maintaining a visual image of the spine. 3. Head Layout: Adjusting the Contours 7 iN Morita reinforces the body's contours ‘to acertain degree. After having given the body a clear shape, Morita ads in the facial features. Morita completes the nude figure by adding a contour to define the bel. 22 2. Full Figure Layout Clavice im ~ guideline > West t guideline - Groin guideline o a ‘The legs are on the short side, creating a girishly adorable characte, _- Mosita gives the air volume while : ‘maintaining 7 awareness of where \S the head's exterior contours are located Morita draws the torso, the facial features, and the head's exterior contours in that order, gradually allowing the character to take shape. Wer \ et 6 # Finally, Morita draws the ‘swimsuits contours and details. ‘The garment fits snugly against the body, causing the nude sketch to become particularly citical. This is because the ‘swimsuits contours atthe chest ‘and hips must be used to give the figure a sense of volume.4, Final Image gts they | Rey, ot ly (ay 4 Iho [) =, uy f 135 <) I (185 j [| {readin | | | [reat | body t ly Us {/ 1 Thefiguetothe = jf} 4 fghtstowsite — // NS rec with longer lags. The head-to-body ratio may be modified 23,Drawing a Character Wearing a Sailor Suit: 1:4 Head-to-Body Ratio 1. Sketching a Circle-and-X Layout and the Neck (Shoulder Width) Tis mara wr te ain od nay posted A on a 1:4 head-to-body ratio Shr you crs br ane Noa Grew te oso on elon Soin bela | Thelen i poston ron hs ee Ens he owl berone prporaay etny ns ® 2 ® Soro! Chace he hohe te gone ao Morita draws the circle-and-x ayout. Nest, Morita sketches the torso's Here, Morita continues sketching the above this level, the longer= (ne effective technique Morita layout torso, while showing consideration fo jagged the character wil ‘demonstrates in this figure is using the neck, ‘appear. his fingers to gauge the positions of the waist and groin. 2. Sketching the Full Figure Layout and the Head Layout: Adjusting Contours Waist guideline Centering guide Morita determines where to position the groin while adjusting the trso's exterior contours. He draws the legs and adds a line to denote the figure's center or axial line. @ At this stage, Morita cleans up and adjusts the shape ofthe arms, ‘which were previously simple poles. aK 4 ® In the above figures, Morita draws the eyes, nose, and hat The above shows a completed contour drawing of the character nude. Producing a careful rendered rude sketch of the character before dressing her {a key requirement it you intend to dress the 24 character suecesstully,3. Drawing the Clothes SS 4 Oh) Here, Morita draws layouts for the sleeves and the rest of the clothing. Drawing a cropped, middy blouse gives the sailor suit a stylish look. % Finally, Morta draws the ski's contours and ripples in the sleeves to finish the drawing, Use the centertine as a guide ‘or drawing the blouses front closure. (Once Morita adds the bow, he has finished the upper body clothing. The garments sit on top ofthe body, so they must be drawn following the figure's contours but leaving 2 gap between the body and the clothing’ silhouette contours, ‘Morita adds a guideline for the skt's hem, 251:5 Head-to-Body Ratio Study Sketches The neck plays a key role in the impression the figure's head-to-body ratio projects. A 1:5 head-to-body ratio seems to be the point at which the impression the figure projects changes depending on whether it is above or below this ratio. Consequently, even a professional artist must have built up skill and experience to determine the desired image. Artists find sketching studies of the kind shown on these pages useful to improving their skils. af Note how the previously drawn 1:3 head- to-body ratio had virtually no neck. @ I In the above, Moita sketches acicle-and-X layout, Unlike — - the chibi (aka. 'super-deformed” or “uitra-styized" character) this character has been given a slender neck SSS @ Groin guideline ea yA ‘The above shows Morita again using his ‘When composing a figure, the groin should be fingers to check the head-to-body Positioned hatfway down te full height. distances, A1:5 head:-to-body rato is ‘Therefore in a 1:5 head-to-body ratio character, commonly used for male and female {he groin would be positioned ata height of 25 jortashetches guidelines for the characters in their teens. heads. Once you have grown accustomed to {ness wie rawing te lege Droportioning a character, you fil find yourself naturally posttioning the groin at the correct Position to match the proportions desiredDrawing a Character Wearing a Jersey Top and Jeans: 1:5 Head-to-Body Ratio 1. Steps in Sketching from a Circle-and-X Layout and the Neck (Shoulder Width) to a Full-Figure Layout LN / \ \ | Once Morita has progressed to \ | the point where he ads the | \ @® / 2 ‘groin guideline, he checks the Nh Morita intends to draw a mature- Imagine the spine follows an S-curve _P*0portionin, ® looking character ata 1:5 head-to- when giving a character a sinuous pose. ‘The above shows a completed body rato, so he made the neck Take care when sketching the tayout layout ofthe posed character longish, 2. Sketching the Full Figure Layout and the Head Layout: Adjusting Contours Oo 1 Thea How the character wil appear inthe final Arawing has aeady been established by J this point In oder to achieve a clear image Norta sketches a layout ofthe af a character, st draw alayotskoch of hea face and hai the ful gue rather than stating with he @ i 2 To finish the drawing, Morita draws the irises and pupis, the breasts, and other details. The nude sketch is now complete ‘Where the groin is positioned Next, Morta adjusts fingers" constitutes the key point in the contours and other details character's overall visual balance.3. Drawing the Clothes Work from top to bottom, starting with around Leave a gap between the contours of the When drawing clothes as with drawing other the neck, loose jersey and those of the flesh ‘things its common to start withthe layout. Uundemeath. Layer your strokes, and note where the body's contours are while you draw the clothing ( © Morita maintains Morita draws the exterior contours ‘awareness of the denim’s of one jean leg and then the other. thickness while carefully ‘When drawing your ‘adding strokes, ‘own, add contours to define the rippling and bunching atthe hem after having finished the jeans’ exterior contour. @ = q In this figure, Morita draws the ripples and ‘creases on the jerseys front and adjusts the jersey's hemline. Thickening the contour extending from the posterior tothe groin heightens the sense of three-dimensionality. o At the very end review the final image, and if you feel the need, only then add rippling and bunching behind the knees. The addition of creases on the jeans marks the fina touches. Use hatching to create the distinctively thick feel ofthe jeans’ denim 2829Drawing a Character Wielding a Sword: 1:5 Head-to-Body Ratio 1. Sketching a Circle-and-X Layout and the Torso's Layout The neck is obscured from this angle. \ Ni Waist . guideline Approx. 2.5 heads in height Since this character wil be ‘drawn ata 1:5 head-to-body ratio, Morita positions the ro aay 25 cavern o ee First, Morita sketches the head and the torso’s layout, @ “The torso shown here is actualy shorter than two heads in length, Normally, when drawing from an angle where the neck becomes obscured the torso is made shorter than it would be drawn in a standing pose. 2, Adding Layouts for the Arms tow quielne = When drawing your | / = ‘own figure, ad in the elbow's Z ) \ ‘guideline while sketching te / \ extended arm." ) fo } Fas ® Z @ @ Z Morita works from right to left. Motta draws the right arm while The clavicle guideline Athi stage, the hand's layouts noting with sketched layouts and caries how the posed to reflect the grasping ofa quidelines where the lft arm and Shouder's upper sword hit the clavicle wil be located. surface appears 3. Adjusting the Full Figure's Contours \ +-72. Emphases, \ TS which is from a compositional ee perspective, the largest body part. Morita adjusts the contours, aS saingom tena nt” oka Particularly around the jaw. He / Works is way tothe body. Morita draws the arms after Use a masking or blotter paper reinforcing the tors's contours to avoid smudging the drawing 304. Drawing the Sword and Shield —— Start by drawing the SC sword’ hil ~ This shield attaches to the arm, Often, the shield will obscure the arm in the final drawing. However, as with drawing clothing, the figure should be drawn in its entirety fist. This will, result in a more convincingly drawn, character. ot. EF @ ‘The completed contour sketch, seen above, includes the nude figure, the shield, and the sword. 5. Drawing the Face and the Hair Morita adds the eyes, the eyebrows, the ‘ose, the mouth, and the hair in that order. 6. Drawing the Clothes Morita draws the armors breastplate, starting with the shoulders, This alone generates the look of lightweight, leather armor. 31To draw the leg, Morita begins withthe knee. Use hatching to shade the knee, ‘maintaining awareness of the jaint's round form, ‘Armor has volume, In the figures on this page, Morita uses hatching to portray leather and other textures. When drawing on your own, leave a wide gap between the hatched strokes. Morita uses large, diagonal lines to Morita draws the armor's contours An abundance of curved creases portray the bent knee, emphasizing ‘outside ofthe eg's contours, thereby were added to the back ofthe knee. the sense of “bending.” Giving the armor a sense of volume. 8. Adjusting the Shapes of the Shield and Sword “The areas ofthe hand gripping the hilt, adhering to its curved surface Morita reinforces the exterior contours while finalizing the forms. In the above, Morita adjusts the hit’s form and carefuly draws the hil. 329. Adding the Details Morita ads strokes ‘that give the sword ‘a sense of texture oF 3 Morita uses crisp, straight stokes forthe othing creases The hatching (agonal Ines) seen here ge thearmora sense of } iether \ 2 tometer, = H ‘Morita adds f 7 ~\ ‘ines to create the illusion of j . creases concentrated at the underarm. Final Image 33Drawing a Character Running: 1:6 Head-to-Body Ratio 1. Sketching the Full Figure Layout Since this character wil have 2 1:6 head-to-body ratio, the groin is positioned three heads’ length along the body. 0) Morita starts by drawing a circle-and-X layout ofthe head ‘and then proceeds to draw the torso’s layout. 3 ‘Once Morita has completed the full figure layout, he adjusts the exterior contours, reinforcing the lines. Note that Morita included the hip on the far side of the figure. Parts ofthe body that will be ‘obscured inthe final image should stil be included a the layout stage. 2. Drawing the Head and Further Adjustment of Contours @ @ Morita draws the face after sketching When drawing on your owm, maintain ‘he jaw, awareness of how the movement of running will affect the direction in which the hai fows. Morita draws the hand, {4 a fingers, and other details. (@) / : = Mosita saves her bon and towing locks of air fr last. 343. Drawing the Clothes a This tine defines the waist, which is ‘the top opening in the skit A carefully ‘rau, gently arcing line creates the illusion of a ), three-dimensional itt actually ag Wearing a skit, Nest ort enforces the ine at the skit’ oes 7 ) First Morita draws the collar and then the sleeves. Final image The skirt's hemline is added using an S-curve to evoke a feeling of movement. Morita connects the skin's contour to ‘the body's contour, making the skit ‘Scoop inward Morita adjusts the contours to ‘complete the drawing, 35,Practice: Mee a_1:6 Head-to-Body Ratio Character into a 1:2.5 Head-to-Body Ratio Character Chibi characters, which some consider to have given birth to Chibifying a 1:6 Head-to-Body Ratio, ‘manga, were created from stylizing and abstracting characters 35-Page Manga Character of physically attractive proportions, ® Morita starts with the full-figure layout. He draws a slender, smallish torso, paying attention tothe cistinguishing features ofthe original character (the angle ofthe waist and legs) while drawing Wen drawing the tiny, stylized feet of a chibi ‘character, match the angle of the legs to that ofthe original character. @ (Once Morita has finished the facia features, he begins adjusting the contours. ‘Morita draws the navel ‘and other detals to ‘complete the nude sketeh.‘The same steps should be followed in dressing a ctiby character as wien dressing a standard character, The number of strokes used on the chibi character \ CO) SEE / ) Na shout, Ny ae _( *- The ankle when the characteris dressed in \ skits and 52 The groin denotes the lowest point onthe torso and its poston affects the atmosphere projected by the figure overall show ofthe legs. the bustin, a key point in establishing the underarms positions and portraying hills and valleys inthe chest’ form. Rendng he chest wig abstracted, | geometric forms facilitates capturing Masa tee dimensional tom — The waistine functions as a ‘uide when drawing the figure’s actual waist or the waist ofa skit or pants. The above shows the groin and the hips. To ensure thatthe legs project a shapely impression, even ‘when hidden underneath a skit, maintain awareness of where the groin is positoned and sketch the legs trom the hips /} / ‘constitutes a key point { / Drawing a cuved line a the Junture where the ankle meets \, be ths oe te as v \ \ sense of volume. \ ] ‘other garments that rendered as a single block. Cropped jacket with tailored sleeves.Drawing the Clothes Ensure tht you have cary captured the individual garments distinguishing features. Use shading to give the boots’ leather a sense of volume. 1 L Y a mime 53,Chibi Characters: 1:4 to 1:2 Head-to-Body Ratios With cute, short legs, chibi characters are proportioned to look adorable. The legs should be stubby and comprise half or less ofthe body's height Standard Proportoning “cute Propotoning ~ | ead and < | torso articles when = | : ‘These proportions work wel with Pasitioning the groin Pf comprise ameager used with dogur 7 S arnarep sera ewig & hatway along the \ <7 quarter of the figue's figures. eae ie ae regular female character's full height Dress the character ‘ll eight 7 character. destroys the overall ina skit or pants. “Ongar xernare gues tome boa Pes aaa) 10.0086 300 balance Ceres rgb oo age a ot a, 0 era eg. 54:3 Head-to-Body Ratio Standard Proportioning C : Head and Wai: torso } (\ : J sein The above andthe Legs ure he gt show how a character looks when the waist is Use the same length ‘entered on the torso Uf for the waist, the \ trso,andelegs. Ging the character aslender torso andfleshing out the | arms and legs ina realistic i/ manner proces aim, Ak reaiistc-Iooking, mature temale character. Long-legged Proportionin season | = Joo Y Characters with overly long legs look odd. Avoid making the torso less than ‘one-quarter the character's fll height oundish, plump character Long Torso Proportioning Gs) Since tis proportioning is intended for characters with short logs, try siting the grain to shy bow the standard hattway mark so“ thatthe waist and grin comprise haf of the torsos fl length Thin character Raising the position of the waist while keeping the groin in the same place results in a character stylized as if she had been drawn at a 1:3 head-to-body rato. { } \ \) (ker pe} reaonnaivanu VED ‘the right show a character Y wees Nn Waist wore rahi pctoredsta due fon eg tt cocamnatetas | ful length. wi imerctemmeu ma fA ee ) \ tates ff gerrnd martes i) physically powerful pi Vv be the groin only slightly above the standard halfway - mark is sufficient successfully creat the look of along legged character tenctaniee wt ta capable of 7 Sonim. YS Long legs diminish the é istintively chibe- esque look.7:2 Head-to-Body Ratio’) Te same basic rules of adjusting the wast and groin's positions to modity the overall proportioning ikewise apply to 1:2 head-to-body rato characters. The length ofthe torso and legs combined equals that of one head. ‘As a result, shifting the groin’ positon even sighty dramaticaly changes the overall body bul Standard Proportioning Groin Legs centered along the torso. Make the torso andthe ‘This character was given a legs approximately the ‘slender torso and pole-shaped ‘The lengths ofthe arms and legs changes i legs that taper atthe according to the torso's tength. However, the soe tents —— Gracias cape of dynamic ‘movement, regardless of whether ther ims are ong or shor. To create long-egged characters, raise te postion of To create characters with long torsos, lower the groin. tis vtually impossible to incude any hint of the position ofthe grin, The larger torso ‘a waist on characters with this bul requires representation of a waist. 1:2.5 Head-to-Body Ratio ‘Standard Proportioning Long Torso Proportioning to-body ratio are styled ae) character. To create a eae eaane fe Pasi het ear me 56Key Points in Modifying the Head-to-Body Ratio i it ‘The number of units remains the same, regardless of the Drawing the Head, Torso, and Legs as Three Separate Units [eumbesof ns enains ne same regu of he ‘occupied by the three unis: the head, the torso, and the legs, reflec the differences in the head-to-body ratio. 1:3 head-to-body ratio. 1:6 head-to-body ratio ‘1:8 head-to-bodly ratio | oe /_ Position of groin Legs The Groin as the Boundary between the Upper and Lower Bodies 1:3 head-to-body ratio. Eg, 1:6 head-to-body ratio requires six circles, ~~ Hoadat circle ()\__ (1 heae-engtn) } \OSS Torso=2 circles [YF eet ena A The goin, positioned here, marks the \, boundary between the \. upper and owe bodes. > Legs=8 cies / Ghead-lenats) ‘The circle layout establishes the lengths of 116 head-to- the upper and lower body ratio First determine the head-to-body ratio bogies, you intend to use and then use circles ‘ter using the circle tone-head in length to lay out the layout to draw the Proportions. torso unit, adda line for the waist Tis serves 2s a guide in adjusting the toso's ) contours ‘The “tale” the nead-t-body rato makes the character appear ((e. the more head-tengths used in the proportioning), the more cblong in shape the face will become. 57Assorted Head-to-Body Ratios at a Glance Unnatural Artistic License-eflected) ‘Actual Head-to-Body Ratios (Children) Head-to-Body Ratnatural Head-to-Body RatioChibi Character Proportioning as the Basis of Head-to-Body Ratio Sketching Chibi character design requires distilling proportional sketching down to its essence, provided that proportional balance has been achieved in the planned design. This section discusses studying chibi character sketching in order to master techniques in sketching, which form the basis of head-to-body ratio layout sketching, Learning How to Sketch Characters Used in Marketing and Cutout Frames with Ultra-stylized Proportions: 1:2 Head-to-Body Ratio = ” oh LW or Learning How to Sketch Delightful and Animated Characters for Use in Cutout Frames and Manga: 1:3 Head-to-Body Ratio Learning How to Sketch Manga and Illustration Characters with Moderately Realistic Form and Movement: 1:4 Head-to-Body Ratio 60What Is Meant by "Chibi Proportioning"? Characters drawn at 1:2 to 1:4 head-to-body ratios typically have large heads and short legs. The steps to sketching a chibi character are essentially the same as those for sketching an attractively proportioned character: first the proportioning of the head, overall figure, and torso are established, and then the body is fleshed out. However, the simpler proportioning of a chibi character makes its body easier to capture. Make an effort to learn the basic proportioning of a chibi character by studying the sketching process. 1:2 Head-to-Body Ratio ) Characters drawn at a 1:2 head: -to-body ratio come either with roly-poly oF itsy-btsy twiggy bodies. Roly-poly characters have pudgy bodies, ‘arms, and legs. Roly-poly characters look pudgy ‘even in profile Itsy-bitsy, twiggy characters have slim and trim bodies, arms, and legs. 61(CES Head-to-Body Ratio.) When sketching, use rounded forms for 1:3 Head-to-Body Ratio) term and igs as well asthe torso. First, do three study sketches ofthe character from the front side, and back to determine how high to draw the bow and how Jong to make the ponytail before launching into ‘drawing of the character. The head, torso, and arm units are clearly defined in tis character, and the proportions occupied sufficiently large enough to all. even simple by the body parts are iow for shading. The adtition of ances the characters sense of three } y y nl PAY a lh 62Use a slim character design forthe limbs 1:4 Head-to- Ratio.) sO well as the toro, ° yi aN Use simple ple shaped ams and lus, incuding at te an, to al adatienssdtnave to chi caraces. @) witha 1:4 ratio, the coerce cn De ately porvyed wiht drawing 19 much detail.Drawing the Face: Sketching and Stylization Chibi character faces are essentially the face of a child. When drawing a chibi character, stylize the eyes and hair in the same manner that you would when sketching a child's face. Proportioning a Childlike Face The distinguishing feature of the child is thatthe portion cof head nat containing the face is larger than that ‘occupied by the face. Giving the hair plenty of volume results in a larger head, which creates a chldike appearance, Key Points in Transforming an Attractive Adult Face into a Chibi-proportioned Child's Face Key Characteristios, Key Characteristics of an of a Child's Face ‘Adult's Face Oblong face Smal eyes i Presence of a nose and nose bridge * Children's faces should be generally round in form. ‘© The eyes should be large. «The nose and nose bridge should be minimized. Attractive adult faces and chibi bodies do not mix. Original attractive This figure shows a In the above, the face has been adult character shortened face with larger simplified and abstracted down to an ‘eyes. The bridge of the nose _olipse. The eyes are dots, and the has also been shortened and nose has been eliminated altogether. simplified inform. The overall face has been abstracted using simple contours. 64stracted Dots as Eyes A | TIAN \ Wo~ TA IS ‘The eyes’ postions reflect the proportioning of a chil's face (the eyes are positioned below the face's centertine). ‘Simply modifying the hairstyle and eyebrows allows forthe creation of an entire family of characters, Eyebrows as a Key Feature on Male Characters SY ‘This unisex eyebrows could be Thickening the eyebrows Enlarging the eyes and sed with either a male oF makes the character appear adding a tiny nose results in {female character, male at a glance, boy drawn with chibi character proportions. Dts sod in Layouts to Represent the Eyes OL. Draw the eyes based on the dots’ positions. Use a circle-and-X layout to determine where to draw dots for the eyes. The eyes' positions establish in which direction the head is facing. | f ‘Adjust the exterior contours ‘and add the hair to finish. Characters with eyes abstracted to dots are frequently used with rminimaly rendered characters designed for book or magazine ilustrations and characters used in product marketing +h et ; i L ‘These faces: ‘demonstrate the use of both lines and dots as eyes. Making the eyes smaller and giving the nose a bridge resutts in an attractive youth 65Drawing the Full Figure: Sketching and Stylization This section covers how to sketch a quick layout using chibi character proportions. Start by drawing two circles ofthe Ratio Character. same size to create a snowman, Drawing a Girl Oon-~ @ Draw a two-ball snowman. Divide the bottom snowball into half. Envision a character drawn ata 1:2 2 hea-t-body rao a8 starting ot as a two-bal snowman, - Head oe 4 T9s0 A standard character tks out . __ Westen § ‘of the snowman format from the 7 / waist cov, ba __ Goin guidetine , Hatay mark — Legs 1:2 head-to-body ratio character theater 66i } Use simp / geomet toms for the torso's lj, sch a an or other oblong shape. = Joint layout Drave layouts forthe joints and sketch the arms and legs. Drawing a Boy ® ‘The steps from ‘drawing the snowman Lup to this point remain the same as when drawing a gi ‘Sketch the torso’ layout and add Circles forthe joins. The torso should be wider than that used forthe gi. __— alipse,aretangle ( — ( ui NW Flesh out the limbs and draw the hai. Give the character stout limbs and draw the face. Draw the clothes and fil in the other details, Giving the character short, roly-poly arms and legs ‘generates a sweet, ‘endearing atmosphere. 67Portraying the Hands of 1:2 Head-to-Body Ratio Characters ee ‘section covers how to styl ie fe na hands of a 1:2 head-to- acter. In contrast ands, the hands of / Samo ft of native fa chr (Hands underneath those drawn within circles Sane hands of attractively proportioned cheats)Even Chibis Have Centerlines Figures of all head-to-body ratios have centerines. When facing i forward, the head's centertine and the ‘body's centerline form a single, straight ine 2 y Bending the body or changing the direction faced causes the centertine ‘0 take on a "C" or "S* curve. AT ‘Maintaining awareness of the face \ ‘and tors0's centrtines helps to draw the character in dynamic poses. Rp 1) FF cng me sein et \ | | body faces generates a movement aa In the figure to the lft, the head faces When the head tus othe side the centerine shits | ) right while te body faces let Peuraeiseaicreae \ remains facing foward te centerinecoes not t A change ] 69Drawing a 1:3 Head-to-Body Ratio Character) Sy drawing tre cies ofthe a same siz to create a snowman. @— a ~\ \ { | } WY —_ Pasion the waist \ (\_aporrimatltwo-tias OD) www ear f - j Groin Spee ) \ ) aed Draw a three-ball Establish the postions snowman. of the waist and groin, Envision this character seated within a two-ball snowman. NAT) Draw te igure a it 2A NYS acing hands and feet 2 seiaeiet aN ¢ = db Orginal two-cice (| 1 snowman superimposed \ | } oera oo | ) character \ ? RE \ The above shows the completed body wat its limbs 1:3 head-to-body ratio character theater oO “Ga, ?r-¥ On Ite \ 4 Wt 70Drawing a Girl Sh ld Sloped shoulders —_ Wast Groin Create the impression ofa gi by Sketch er eostumes layout. Cleanup the contours to fish aging arms an tgs ta torso that tapers shy at the wast. Drawing a Boy AL : \ A ih ’ D- q or On ayy . Follow the same steps as when ‘rawing a git until determining the wast’s postion, Use a rectangular shape for the boy's torso, The shoulders shoud form an almost completely straight sate i yout forthe Draw the hair, the arms, Clean up the contours to finish, Nine and should not Slope. torso, joints and limbs. At andthe legs. Ad the this stage fet fee to cothes ody the direction the head faces. 71Portraying the Hands of 1:3 Head-to-Body Ratio Characters This section covers how to stylize the hands of a 1:3 head-to- body ratio character. The hands ofthese characters tend to have rounder contours and thicker digits than real hands. (a we Ue) OO \3 8 © ees of an attractively proportioned character, (ands undemeath those drawn within circles represent sample hands of attractively proportioned characters) J is 2 2) “te NX mD Coco Paper (Open hand) é 4 72Portraying the Feet of 1:3 Head-to-Body Ratio Characters Contrasted withthe Feet of 1:5 Head-to-Body Ratio Characters 1:3 head-to-body ratio, The sole's ‘contour should y not undulate ‘dramatically Use a clean, i J tne to define the top of thefoot \Q \ The ankle a} Omit the | shoud also be \ toenais. omitted Draw 1:3 ead-to-body ratio & characters wth cute, stylized feet. ) Draw a simply | rendered version of the foot's soe \P ankie, \) When giving the viewer a glimpse of the sole, exaggerate the fot's size. The legs ae stocky and stylized, allowing view of only the tps ofthe toes. There is hardly any ‘unevenness inthe feet’s contours. Both feet should have ‘essentially the same silhouette. ‘The foot should \ not taper at the Minimized heels are a key feature of characters drawn at a 1:3, hhead-to-body ratio, Give the character adorable feet, by making them small in overall appearance and by adding chubby, round fos 1:5 head-to-body ratio The heel and Guat \ \ ) arch of the foot {are dearly vise on the Neen , Realistically ‘proportioned look appropriate on 1:5. | head-to-body rato / characters. / D ay - Ny Ree () The sole of the ce a | foot shoud reflect |S. 7 ) the angle ana the direction of the ) kick. 4 \ The heels \ 4% exaggerated \ \¥ / \ The ball of the {oot should touch |. the ground y7 V wW Inward curve at the ankle and then buige of the bony joint are clearly visible on the 15 character's foot. ‘The feet of the 1:5 character have A complicated sihovettes that « include the heel, the anke, and the arch ofthe foot. How the foot touches the ‘ground ‘dramatically affects the foot's shape. 73Drawing a 1:4 Head-to-Body Ratio Character) St*by drawing four circles ofthe same sz. ‘Stack four circles of Draw an X forthe face the same size. and circles for the joints. Plan to positon the grin underneath the hip joints, nt nat {—- Second circle oo \ f - ~ Joint layout Layouts forthe joints may be drawn undemeath the second cir. Adjust the roin's position while simpli form t) wy vy NF tan the original c | Key moditcation points: Greases at oe the ebows andthe ankles seen in | “P-7 eotaa were ones to cect this gue. The arms’ sihouetes |. | were simpitied, and creases on the torso were also let of overall form have The boots' toes and |_| aoe The torso is small, ~~ A Key modification requiring the jacket's —k points: The collar to be small as number of y well \ creases has been X\ reams ante \ “| |S) tutors have Lk} Teac’ oen ron constts ay TL} © Perens 717) eign ait on te charactor ann ata 8 preilis heat a een tet ‘im Consent te appearance ote fowe |, Tewot cous ‘underneath the clothing must first be 4 / potentially end up eased using a nud ketch fang he a dashes, ensue that the toes are 78 pointy.1:4 Head-to-Body Ratio 1:3 Head-to-Body Ratio yy 7 7] Dw este A prices L layouts ofthe 1:3 head-to-body rato character's distinctive Draw the boots over the legs \ arms and legs. layouts When sketching the figure | Use tne knees as a guide when layout, be certain to establish drawing the ski's hem. ‘the positions of the chest, the \ \ / ‘waist and the groin, and the Kx SN / ee AN Ht ‘Sketch layouts ofthe face and clothes. 1:2 Head-to-Body Ratio \\ The above shows the font ofthe | jacket of the original atractive } character. Simple straight ins and curves were used to reproduce the jacket font on the chi. Sketch the figure in a ‘Add the clothes. pose wile adjusting the layout. 791:3 Head-to-Body Ratio 1:8 Head-to-Body Ratio 1:4 Head-to-Body Ratio =| 27 Key modification | pom: The hs in | / \} the belt have been ff omitted. \Key modification points: The holes in the bet hhave been enlarged, while the number of holes hhas been reduced. The kercief knot atthe back ‘of her head has been enlarged, and the purse's \ ; ‘ze has been styistclly adjusted (.. shrunken) | I / ‘to match the chibi character. ‘The shorter torso means ' bette se anor : "amare tory so ge < \ Ly visible. Her purse was triage tt tintoa// visual accent. po ' J} | body ratio make the character y ‘ficult to balance visually (witout setting the entre figure, including those parts Ty (yp. scored inthe nal image Key modification points: The holes in the belt have been eliminated, Note that modifying the character's build affects how the body frames the purse. 801:4 Head-to-Body Ratio Even though the circles used for the initial layout ere sketched roughly, the end result was stil an accurately proportioned 1:4 character. Sketching a character does nat mean drafting. There is no need ta draw perfect circles for the layout. Use circles to denote the joints’ Clearly define the foots soe, Last, add the lace-up sandals cords layouts while sketching the body's ‘and details on the shorts, contours. 1:3 Head-to-Body Ratio 1:2 Head-to-Body Ratio ye Yd / Whe Sot ays Use a rectangle for the torso Match the purse stylistically When sketching the contour tothe figure's proportioning, aa Establish in which dections the head layout Tr site cue he andthe boy face wten caving te clegree of height antour yout and sketch tears And gs wing rH CONUS. ut cata hatch he puts’ layout 811:7.5 Head-to-Body Ratio 1:3 Head-to-Body Ratio if \ N / \\p ke meen Give point The shorter '2 figure's triangular key modification points: The = bot has change postions The proportionally larger bow heightens the character's sweet and adorable appearance. 1:2 Head-to-Body Ratio | Long skirts nave the tendency to make the torso look ong, so the hea-to-body ratio ‘was dropped ftom 1:8 to 1:7.5to shorten the torso. Te clothing covers a @ = § ‘emendous portion of the figure, making key modification points: The bow ‘on her chest has been made ‘smaller, wile the skits pleats have been accentuated. The way her hair hangs has been adjusted ‘to suit her shorter arms. an accurate preliminary nude sketch vita 821:4 Head-to-Body Ratio \. Draw knee and The bow is centred on the ankle guidelines in trso below the chest. tis order to determine important thatthe preliminary where to position skate clearly indicate where the ski's hem. the body's various parts are located ‘The hem fas to around the ankle Draw the figure in its entirety wnen Draw knee and ankle guidelines in order to sketching the contour layout ‘determine where to position the skit's hem. 1:3 Head-to-Body Ratio 1:2 Head-to-Body Ratio = | \\ |, sate V/ / /\ The 1:2 character's / /\ porn det as . sstistoueiscomansion Af | Ae, trepyscaly ape” Taha etn mie tw ‘a front view, a clearly defined LZ | ‘<) being clasped behind her * centertine (axial line) should be 1 head. Thus, the figure's pose bey at the contour layout ‘The above figure includes oa be adjusted as seen ne. layouts ofthe hair and clothing, 7 lat vow teats comune wy { 83' 1:3 Head-to-Body Ratio ere ees Via J Key modification points: The necktie has been ‘widened, while the number of jacket buttons have been reduced. Raising the waist creates the appearance of long legs, retaining a sense ‘ofthe original character's handsome build. ey modification points: The bunched creases atthe bent elbow have been reduced, and the ‘rousers' exterior contours have been straightened. The proportionally larger feet give the figure visual stability. ine | —TH Taping to res oe on. ts 1:8 fac 0204) Key modification points: Bunching at the elbow has | a Tao character mates te les appear, een os pucteton pec clang ote eae ¥ Ce alee have been simplfid and exaggerated. Te buttons caren re have been eliminated entirely. Simplifying and ‘emphasizing the jacket's open front set the pase.1:4 Head-to-Body Ratio (\\ x Draw creases aif radiating from a single Paint. Use a curved contour to draw the comer ofthe ‘pen jacket rolling up in the distinctive manner ilustrated. Using the four-cirle layout as guide, Draw the belt along the waist sive the figure'ssihouette form. (Quideline and add the costume’s contours, 1:3 Head-to-Body Ratio ry [A | Hob, ‘The and crammed in he pocket Drath bottom ofthe jake, hy { constitutes @ key composition using the hand shoved in the Wn i 47 Rt point. Show the elbow jutting out pocket as a guide. Popes Ok from the layout stage i Draw a centerline bisecting the Draw the clothing. Any ripples or groin. crinkle occurring around the trouser cuffs should be drawn at this pont. 85Casual Wear 1:3 Head-to-Body Ratio 117.5 Head-to-Body Ratio . ‘1:4 Head-to-Body Ratio Key modification points: To recreate this 1:3 version, enlarge the colar and the epaulets to exaggerate them, and simplify the show laces, the rip atthe knee, the bandage on the cheek, the goggles, and ther identitying details. 1:2 Head-to-Body Ratio ey modification points: The collar and epaulets have been ‘enlarged. Since the posture is now held more erect than the orginal, the foot stepping forward has been made larger to emphasize the act of walking. ‘The selection ofa 1:7.5 over a 1:8 head- to-body ratio results ina character that appears more convincingly ikea youth i Key motiiaton points: Modityng the thane Yous naa Ra tt character's actual buld results in his get being transformed fom a brisk wakto a sel assured stride.‘guide when ‘rawing the goagles. Exaggerate distinguishing features, such asthe collar and epaulets. ‘The less the number of head-Ienaths used forthe character's height, the mare complicated details, such as the Soles of the shoes or thei laces, When drawing a contour layout of a In response to the modified posture, should be either simplified or omitted. character in motion, sketch a manikn- show more ofthe sole ofthe shoe for style layout, indicating the joints' locations added emphasis, ‘and then adjust the pose. 1:3 Head-to-Body Ratio i \ Angle the layout The centetine to create the illusion ofthe character slightly leaning forward, serves to draw attention that the, — figure is standing perpendicular to the ground plane, 1:2 Head-to-Body Ratio At this body size, the colar, epaulets, and other \ identifying features are eee , aan A\y ——e —- “4 Soccer | 7) at’ ae ‘After having roughly sketched in identifying features, such asthe colar, the goggles, the rip at the knee, etc, continue to develop the composition. 87Portraying Shoes ‘Stylze and abstract the shoes to match the sketch character's foot shape. The less the number of head-lengths used to draw the character, the more details should be let out ‘School Penny Loafers 1:4 Head-to-Body Ratio 1:3 Head-to-Body Ratio P. y loafers worn by an attractive, "tll character Penny loafers worn bya 1:3 Penny loafers worn by a 1:2 character character Sneakersecccccessscsccssssssscssssssssscssssssessssesssseesssee Gio i ih wD dir—\e Sneakers worn by I aia caer q te 2 ' ; =) VR w= wor by an attractive, “tll” character 13 character a2 character High-heeled pumps © secesccecccccccccnsccessccccsccccsssecsccccceees 4 Ly i| / \y J Pumps worn bya 1:4 character L wl Ww a wl Yea aesSelecting the Head-to-Body Ratio *s2castons! te dana characters unconsciously and consistently use head-to-body ratios oftheir preference. Make an, cetfrt to discover which head-to-body ratios suit your ow tastes Break down the character's total height into units of one head-length. Head-length: { ¢ a 18cm (appro ZR) The hair adds extra height tothe head, so be sure to draw 2 horizontal quideine touching the top of the head minus the hai Full height: 137 cm (approx. § 218") 137 +1.8=761 This character has a head-to- body ratio of 41.7.8, This may be rounded off to 175. Draw a guideline a the bottommost point of the jaw. This character has @ (OF head to-body ratio of y 1:7, which indicates that normally this artist draws charactors ata ratio. of 175. Draw horizontal ines at intervals ‘of one head-length for the | figure’ ful neigh Using the nea's length as a unit of measurement, measure the height ofa character of : : Your preference standing 7 ea Draw a horizontal ine onthe shoes using the hel as a guide Rounding off the Head-to-Body Ratio 1:1.6 becomes 1:15. } \ 3.3 becomes 1:35. Often characters will be drawn at irregular head-to-body ratios, lke 1:2.3 oF 1:7.2. Try to simplify the head-to-body ratio, so that a 1:2.3 would become a 1:42 becomes 1:4. 1:25 or a 1:7.2 would become a 1:7, ete. 89Da Vinci's Proportions Leonardo da Vinci's Vitruvian Man, which shows a human figure circumscribed inside a circle and a square is an illustration of human proportions. This section tums the Vitruvian Man into a manga character. HE KK wy a Th & cir 1:8 head-to- body ratio Leonardo da Vinei drew Vitruvian Man (a.k.a. Canon ‘of Proportions and Proportions of Mar} during the late 15th century. Vitruvius, after whom da Vinci's study ofthe human proportions was named, was a first century BC ancient Roman architect. Da Vinci drew Vitruvius Man according to the human proportions described by Vitruvius in De “Achitectura, a treatise on architecture in which he \wrote that a man could be circumscribed within a circle and a square. The Vitruvian Man presently appears on the Italian 1 Euro coin, (inthe colection of the Academy of Fine Arts, Venice) ER “3 Contrasted with a 1:4 Head-to-Body Ratio Character ‘As withthe 1:5 character, the feet ofthe 1:4 character stl touch the circle, but the fingers do not reach the square, On the contrary, the distance between the fingers and the square's perimeter has Widened. As the number of head-lengths comprising the character's total height lessens, the shorter the arms should be ‘awn to achieve visual balance, 90 The fingers lie outside of the J. ‘The fingers of the arms extended out straight to the side touch the square's perimeter. — feet touch the rumference ‘The feet touch the circle, but the fingers do not reach the square. ‘This experiment ilustrates that @1:5 character looks more visually pleasing with arms that are shorter than a 1:8 character's, Original Virwvian Man ‘This illustration of the 1:4 character tothe left ‘This figure shows 1:4 character with the head and with her arms hanging torso made wider. The arms to her sides shows that ‘and legs also became wider; while she might however, they correspond proportionally match roportionally o da Vinci's _Viruvus's description, Vitruvian Man, her arms appear bizarrely long,1:3 Head-to-Body Ratio Conclusion: The law of manga character proportioning states that short arms result in a visually balanced character when the character is proportioned to be short. Ref. Fig: A 1:4 head-to-body ratio, Overy long arms drawn with arms long enough to result in awkward reach the square’s borders proportioning The distances from the square's ‘borders tothe hands increase even further 1:2 Head-to-Body Ratio Uniess the arms’ lengths are doubled, the hands vill not be able to reach the square's borders ‘The above shows the head of @1:8 head-to-body ratio. character paired with shrunken and modified torsos on ‘wo 1:2 bodies of different builds, otProportional Sketching from Low and High Angles Figures viewed from above or below are drawn in perspective, which generates visual impact. Low Angle Compositions ‘The figures on this page were composed as if viewed from below. The gue becomes forestorioned, going — portonaly larger 25 Troe tarde feemthe Viewing a standing figure from a seated poston figure and roprtonaly Smale asthe eye creates alow angle \ travels up the gure, cOMpston in the mind's Co 4 | j Draw the figure as if narrowing toward the top. )) Waist and knee guidelines take an upward arcing curve Af / JN 1:3 head-to-body ratio 1:2 head-to-body ratio Draw a simple some’ Lf captrette Zt rt oer fom | / A SS © | HI Use an angle lke tis when ‘showing a character floating in space or when standing ors win vy, over a glass panel, etc. 92High Angle Compositions eee composed asf viewed fom above ‘he ation ot ine denoting the ground plane or a wal aries the angle of on composi. Trehead becomes oer ~ / in a high angle ‘| “Ee jf composton, [ | { A Looking down on a figure creates a Yow angle composition inthe mind's The top lid of a can becomes visible when viewed from a high angle. 16.5 head-to-body ratio 1:3 head-to-body ratio From directly overhead, the head comprises almost all of what can be seen. High Angles within Level Compositions ~ Eye level | oer yao For a character with attractive ‘> 7 \ \ } proportions, some ofthe Ai; id L- = (ZZAZ\ | tna standard standing pose, anybody part beneath the face when viewed ~ becomes compose rom a hgh Ms \ Fora 1:3head-to-ody arate va Parts ofan abject appear| ‘increasingly from a low ‘angle and curves (gradually more dramatic as the eye travels down the given object. ratio character, some of Z the arms and legs are ‘Asa result, guidelines forthe waist { | visible. and skirt hem describe downward kK arog cues ma Fora t:2headto-body ratio character, the arms and legs ate scarcely visible. 93i The chin's underside becomes visible from a low angle, while the top of the head High and Low Angles ‘comes more into view from a high angle. Pay careful attention to the eyes’ Positions when sketching the character. Low Angles.) Draw heads viewed from a low angle. Front view ofa standard The undorsdes ofthe chin andthe nose become visible from alow character angle. The eyes take on crescent-shaped outlines. ‘Abstraction should be echoed throughout The eyes retain their shape but shift high of center when viewed from a the entire character's design ‘ow angle. The undersides of the mouth and chin come more into view. ‘Stylizaton such as seen in this character The portion ofthe head above the forehead disappears from view from a low ‘may be used with 1:2 to 1:6 head-to- ‘angle. The undersides of the mouth and chin come more into view. body ratios, Moderate styizaton such as seen in tis Include the bottom surface of the nose even if the nose is small and abstracted, ‘character may be used with 1:3 head-to- body ratios and greater. 94High Angles) Compose the he ‘@ high angle when the character is looking down. FePutting Low and High Angles to Practice First draw the composition from a level view before composing from a low or high angle. rose [ill Low Angle: Viewed from the Lower Right , ong “ A a) {i ‘the original composition. f J \ ofthe chin is hardly visible CConsequenty, the underside VA The low angle inthe low angle composition accentuates the as wel swell ofthe breasts. fae S Sf ™\ The eadand |) body fom a sideways "V" From Sketching Manga-Stye Volt; page 150; “The ABCs of Drawing Clothes" The advantage of a fll figure composition is that it is easy to identity how the arms and legs are ff positioned, Take a careful look at —_// the original composition so as to // ‘capture accurately the directions faced by the head and torso, the Positions of the elbows and knees, etc. when drawing the low angle version. The inside ofthe blouse is visible. ‘The feet shift close to the picture plane inthe ‘ow angle version, requiring that they be rendered in more careful etal than in the original composition. Carefully executing those parts close to the picture plane in alow angle Composition gives the character a sense of presence and makes her more convincing.Using Attractive Characters as a Basis for Chibi Character Designs ‘This section covers designing a chibi based on this original character. Fabric bunches around the shoulder forming creases. For the chibi, the sense thatthe character's head is turned ‘toward the picture plane has been emphasized. Bunching and creases around the shoulder hhave been omitted Refer to the hand and sleeve onthe original character. > Figures depicted within the circles show when determining parts ofthe original attractive character. their angles on the —s ‘The sleeve cuff has been simplified, and the hands and fingers have been shortened and thickened to look stylistically more lke those of @ chibi When drawing a chibi reduce the amount of creases and bunching inthe fabric by around 128 0 115. Sleeve cuft 97Converting to a Low Angle Composition: Low, Left Angle %\ When the torso is composed \ in profile, showing where the shoulder attaches tothe torso aves the torso a sense of volume. The head faces the let In this composition, the use of a straight ime from this low angle perspective causes the stomach to appear taut, giving the character an attractive bull. If an upward curve were ‘used to describe the pants’ waist, the belly would appear to stick out. ‘The low angle causes the waist guideline to take on an upward cue, Z CF Te left arm is tuned [toward the ictre NC plane In the orginal composition, the knees are drawn close together Indicating that the legs are ‘actually closer together than they appear inthe low angle ‘composition. However, this {snot a technically drafted ‘drawing, 50 artistic license was used to ‘draw the legs further apart, thereby XY heightening the ‘The head is almost perfectly low angle turned in profile, so one ofthe ‘compostion’s ‘eyes was omitted from the impact. chibi version of the low angle composition a 98Converting to a High Angle Composition: High, Left Angle Use lines that give the figure a sense of volume. Use an ellipse to ( \ draw the base of the J we J LT dave emphasizes : the shoves" upper “STs contour follows sures. the curve ofthe neck The blouse seam is effective for ‘ / istrating the upper OMe \ ) / surface ofthe SS \ NV { / This sideline gives the hip a sense of o t W/ volume. The blouse's hem curls up, escribing an arc. ‘The angles ofthe arms and positions ofthe hands and knees (how the legs are = helt) become clarified wien Z| Simply the biouse's open Viewed from overhead. ¥ colar and chest contours winen ‘raving the chibi version 99Converting to a High Angle Composition: Moderately High, Right Angle \// This angle makes characters with smaller nead-to-body ratios appear endearing 100Converting to a High Angle Composition: Rear, Right Angle Draw the blouse collar as if wrapping ~~ around the neck creating a sense of a round buttock. ‘The pants fit snugly against the waist, allowing a clear sense ofthe posterior's form. (<=) From te font ‘these guidelines ‘appear akin to seams connecting / \ body parts a) \ 101Pose [2 lage of character holding a gun from ‘Sketching Manga-Style Vot.1; page 185, "The Reality behind Dressing Characters Converting to a Low Angle V Composition: Viewing from Below | \ ‘The torso is viewed almost straight on from this angle, which emphasizes torsion in the neck and waist, reiting in a «dynamic composition. 102Converting to a Low Angle Composition: Low, Left Angle ‘The above is composed from an angle that brings the face clearly into view. The torso shifts to face sideways, Giving a clear view ofthe face creates a feeling of high drama,Converting to a High Angle Composition: Left, High Angle While the face has shifted away from view, the act of leaning forward, a sense ‘of depth, and the billowing of the jacket have become emphasized. Tis is an effective composition for creating a heightened sense of speed. Converting to a High Angle Composition: Rear, High Angle ‘The face and gun in the above have become obscured from view. However, the load-bearing leg is now clearly visible, heightening the sense of physical force, thereby emphasizing dynamism over speed,Clarifying How the Body Forms the Pose . Slender female character taken from x ‘Sketching Manga-Style Vol. 7; page 137: This page shows several “This pose offers a flattering view ofthe studies ofthe pose, examining chest. ‘rom a variety of angles the arc of the torso, the directions ‘and angles ofthe head, arms, ‘and legs, and various other aspects of the original attractive pose, ‘This study shows: — 7 the pose froma (7 moderately low ogee ame angles have to be / f estos | ‘through trial and \\ error. - | ‘This study was drawn with the intention of claitying the pose of the orginal composition wile giving it form from a low angle. 105Rear, High Angle Study, Overhead Study, Etc. Key poses may ether ook impressive xv depending on the angle or may be effective only from one specific angle. ‘The stucles on these pages demonstrate that same angles do not work well with the pose inthe orginal composition ‘This study shows the character from a ‘ea, high angle, clarifying her posture, the way the legs are spread, and how the arms are held As the characteris looking ‘up, only the underside of her _ chin is visible. ‘This utimate low angle shows the figure from directly undemeath. Poses that are dynamic from directly above are still dynamic from directly below. Note how circles were used in this study to mark where the legs meet the hips, the knees, and other joints, This knee layout circle serves more as a guide forthe leg's girth than to indicate te joints size. From this angle, the left and right legs share virtually the same girth. 106Converting to a Low Angle Composition: Rear, Low Angle ‘Angles that accentuate the buttocks work effectively with poses where the posterior juts out nile the motion of the original ‘composition i lost from this ange, itdoes create a dramatic ‘composition. 107La Maja Desnuda ("The Nude Maja"; ca. 1797-1800) by Francisco de Goya (inthe collection of the Museo del Prado) La Maja Desnuda, one of Goya's most recognized works, is commonly used as an ‘example of posed nude woman. With assorted nude images, glossy centerfolds ‘and similar images saturating today's media, viewing Goya's masterpiece as a ‘small black-and-white reproduction makes it seem flat, while the pose strikes us 2s clichéd. However, if we attempt to draw or pant it ourselves, we discover meticulously calculated curved contours artfully reflecting the supple flesh, masterful technique used to portray three-dimensionalty witin a simple pose, and evidence of other sophisticated technical skill and portrayal so that we are ‘overwhelmed by this ultimate expression of physical feminine beauty ‘These next few pages show Goya's nude from a variety of comprehensible angles. [~ This sketch shows the nude woman viewed from low angle around her knees. The portrayal ofthe knees contrasts wit the body's suppleness‘This moderately high left angle composition draws attention to the rhude woman's gent, feminine curves. Retaining the Ambiance of the Face The crawing below reflects the distinctive characteristics of the poston ote bargs, the eyes, and / the bridge ofthe nose. -‘This angle from the right sie offers view ofthe Contour extending from the back tothe posterior, \hich isnot visible in the original Goya painting, ‘The form of this contour can be inferred from the chest and bel’s contours, which are visible in the ‘original. The undulating exterior contours were carefully rendered, wile maintaining awareness ofthe voluptuous, sot flesh, 110Chapter 3 » J Stylization for Use in Manga a The artist conveys the pleasure in a work of manga to the reader by exaggerating the characters’ actions and emotions. A movement or facial expression that is implausible for a real human being merely constitutes just one of many common performances for a manga characte. Yet, often what the artist considers an "exaggeration" when drawing does not appear to be an exaggeration at all by the reader. In actuality, there are aspects of exaggerated portrayal or, in other words, aspects of full-on stylized portrayal of a character that are difficult to learn solely from drawing a standard, “attractive” character. The essentials of extreme character stylization may be leamed through drawing ‘super-deformed chibi characters in action and through chibi character portrayal, given that chibis are in actual fact characters drawn using stylized proportions. Mastering the stylization of chibi character action and emotion will also significantly improve your standard “attractive” character portrayal. This chapter covers stylized portrayal, focusing on chibi characters. 411Three Elements in Portraying Motion 11, The full figure should be divided into three units: the head, the torso, and the legs. 2. Care should be taken in positioning the waist and the groin. 3. Awareness should be maintained of the posture and direction in which the body leans. Three Units A Head Posture The spine isthe key to _/ establishing in which direction the body leans. Torso The wais's poston shows torsion inthe body and gives the figure proportional balance ef x Groin \ The grin’ poston estabishes Daca Cen were the legs connect to the en " torso the torso's length. Legs A \\ Posture To establish the L © ©) posture, when drawing ‘the layout, imagine : marshmallows on a aN ) tilted stick. F 112‘Steps in Drawing a Character Running 1:2 Head-to-Body Ratio wf} ) (v0 / NS Ss Posture > A x AT aon 4) ‘body leans) y ‘Sketch the layout. Reinforce the Establish the waist's Final image arms, and legs. clothing. ame ea * Determine the posture and te rae » The groin's position Co Final it coor Oasis : saa be - 1:4 Head-to-Body Lad bottommost point of the o oe Kj / Determine the posture and ‘sketch the layout. Mark the ‘. pelvis wth a cicle when establishing the grins positon. / Use the pelvis layout (le. circle) as a guide to draw the legs. f Draw the costume over \\ the figure, \i i Draw stylized characters in motion, maintaining the identifying Drawing Common Actions characteristics of that motion as demonstrated in attractively proportioned characters, whose movements are the closest to those of Front View) real people. Sketching the Body The basics of drawing a character in motion are the same as drawing a igure. Esabish where the 4.4 Heaeto-Body Ratio waist and grin shouldbe postoned based onthe . head-to-body ratio and then complete the drawing 6 ‘Wall 1:7 Head-to-Body Ratio exh A (er 1:3 Head-to-Body Ratio i i/ h - 1:2 Head-to-Body Ratio Aiy “ by I SS way }-) The sole of the CA sme vist & + Draw the ams and legs in Drawing the Clothes 1:4 Head-to-Body Ratio. contraposton The right arm Fst sketch the character as a nude or dressed ina ‘and forward extending left leg leotard and then draw over that any clothes you prefer. constitute key points in the fe shove 1:2 Head-to-Body Ratio. Kao 114mg izati i Drawing a character with chi’ proportioning requires stylzation Walking (Profile et at et ea ‘When sketching the initial layout, ensure that it reflects the distinguishing features of the original (ie. attractively 1:7 Head-to-Body Ratio roportoned) character When you sketch the layout, you wl ind So. that styizaton allows your own artistic sty to standout inthe 1:2 Head-to-Body Ratio Draw the posture, ‘The 1:2 head-to-body aims, and legs as 2 rato figure is walking simple stick figure erect. Simple curved lines have been used to render the subtly ‘angled arms and legs. 1:4 Head-to-Body Ratio Tena mages shown below eft the‘ Headto-Boty ao posture and appearance ofthe limbs captured atthe layout stage above. Stylzation gives your characters’ movements sparkle and vitality, 80 ‘do not fet that you nave to reproduce faituly what you se on this page. 1:2 Head-to-Body Ratio 1:3 Head-to-Body Ratio ‘This 1:3 head-to-body ratio figure leans forward slightly. The front foot extends forward in an exaggerated manner. chibrs posture and limb proportioning. 1:4 Head-to-Body Ratio / SS The 1:4 head-to-body ratio figure shares virtually the same posture as that of the orignal. However, bending in the arms and legs has been exaggerated. 115‘1:7 Head-to-Body Ratio 1:2 Head-to- im Body Ratio Fw sideways °V. af my, ‘Shifting the direction of the centerline as it moves from the head tothe body generates a sense of movement. This is a particularly effective technique to use with chibi characters, vito have small torsos, 1:3 Head-to-Body Ratio Ye \ m In the model pictured above, f ‘The centerline drawn through the head and body forms a Dressed ina leotard \ ‘same costume as the model ‘Sketch layouts ofthe ibs ‘and hair using the model as reference. This alone creates a sense of movement. mene YY areas pereomremiery (tif alates | Go Sorecae Y// Semana ZN, iY mee, Go uw q the same manner, and “fr A =o f i cover \ 1:2 Head-to-Body Ratio ‘The layout adheres to the 4 original model. \ ‘This figure sketch reflects the proportions of a 1:4 head-to- body rato. 116 | / wile this character shares the same figure design as the original, the face, hairstyle, Tretrtoweson | shown here displays a Py larger vole of ar than) the original. The costume, and shoes were accentuated hair /-% changed to create a new, underscores the figure's / original character. overall adorable = appearance.4 1:2 Head-to-Body Ratio S\ Tey ding bo 5 ot) marsmatons ona >. tilted stick to create a S a ) forward leaning posture. \ Ve EN, Fealiage Ky A . Figure Sten votiomnastpontofthe ) ASS tosonnereitcomessto L/S ~ te eos ) Oy Add layouts forthe arms This shows the figure leaning Af and eg ote body a. 45( angle. Having the layout figure lean forward generates a sense of speed . often ‘ “2 Waist gudetne ‘ Draw the ogs A | a using the ine EAS denoting the =) lowermost point of ( the torso asa guide, \. Use the proportions for a 1:3 ratio when sketching the full figure layout. 1:4 Head-to-Body Ratio This sketch shows ( . \¢ 4 \ ‘i O 2 (69 J mmr” | \ Forward y) cot OS ft \ tae Use vit ie oxy Th &23 oy b> ~ > Ges) (tee ven caniaine 7S tu figure tyut pay | aeunumes” OX : you position the c\ / Le Final image Sowemnimesin (> oxen penen teams ae \ 117Looking Back (Full Figure) 1:7 Head-to-Body Ratio 1:2 Head-to-Body Ratio. _—_1:3 Head-to-Body Ratio. 1: Head-to-Body Ratio / ts 3)! ‘The positioning ofthe feet and angle of, composition have been mocified to create the above. A high angle would cause these short legs to disappear from view. Therefore, to retain the | ses of the arms and legs seen in the original when drawing your own \ character, shift the angle of | compotion. ~ ‘To reproduce the above, simpity the \ positioning ofthe feat and angle of ce composition. 1:3 Head-to-Body Ratio Posture (Angle of tlt) { - nd Cy Shoulders aa Waist Knees Groin i “Feet The rick to making the gure ah When using a dificult angle of appear stably balanced is to. Ny \)\ composition, such as @ moderate Gfaw the shoulders, walt, /b oi) high angle, draw guidelines fr grin, and feet guidelines x ) the shoulders, waist, groin, and Parallel to each other ‘eet as wal s for the posture, 1:2 Head-to-Body Ratio Qs = ~ Ky» Lt ) i denoeotmorenet { swine rsaorore, | | \,\ oneal s Lf raw a layout and then flesh { 1) i out the figure. / \ cae 118Looking Back (Bust Close-up 1:7 Head-to-Body Ratio yp . f f -® 1:2 Head-to-Body Ratio f \ \ \A Teen aby sei Trott pmetuin Tetons \ Teena’ tuectoweecawn, Et [l | Malye ase cr - 7 up. This is because the width of the neck Draw the body from Zotwuesaiwagget testa Besos Satcwoebution tpacweete 1:3 Head-to-Body Ratio / Posture (Angle of tit) >). Level withthe ( \ $ Od oO ‘Adding the Arms and Legs (Running) Full itor ata frantic pace Jumping Being conscious of the different postures will allow you to show 0. characters jumping in a variety of manners appropriate to the situation. aK ») Leaning forward \2 2 dramatically portrays a SU. . \\ ~~ high-paced, flash yn a kee WS mee character evades an obstacle. LY \ 7 ean tack sues! ( | ackaracterturting §— SY | |) forward wth speee \\ TA aN y : ) eg oars agin : J tes fce Tis wes) Gute ungng <_< Aleve pote sts a floatir appears to be jumping with speed. Adjust the flow i ‘over an obstacle. ane ofthe hair and positions ofthe limbs to suggest a character 420 ‘descending or leaping down,i = Leaning back suggests a slow pace, while the further forward a figure leans, Running: Five Postures tho faster soonest bo movin, Leaning Forward Leaning Forward <)> Level withthe Dramatically Ground Plane ‘When drawing a character leaning back, ‘To make the figure appear level to the ground plane, draw the lower the groin's positon. body leaning forward to approximately the level ofthe goin. FrontView Narrow the shoulders and dravr the torso ‘The further forward the figure leans; the Draw the figure leaning from a moderately low angle. ‘more the torso should be foreshortened, ‘orward to approximately the level ofthe groin. Draw the body arcing back. Draw the axial (center lines at angles to capture the appropriate posture. 1217 Leaning Back Leaning Forward “2 Dramatically Rear, 3/4 View ‘yp Use te spine to establish he posture. Draw the figure maintaining awareness of how the spine would appear, even if the back will not be visibe in the final image. Rear View ra AY Use the waist ‘udeline to || : posture \ j | men ening fonara When leaning When erect, the When eaning | ramatcally, the back, the waist waist flows forward, the waist “~Y | | waist becomes describes a straight ne. follows an upward hidden behing the downward curve. { curve. posterior, and the - posterior’ contour then becomes a substitute forthe waist Changing the Positions of the Head, Arms, and Legs When Running Even though the posture, arms, an legs remain the / same, inte figures seen { here, siting the cretion in ( < wich the fed faces alowed i 4 for the portrayal ofa variety of situations. ‘Standard posture Learning forward Inthe figures tothe right the 4 gp posture and recton in = ‘which the head faces remain ~ —~ the same, but the altered arm and pation pce The way the hand is held also reflects the compete character's emotional state 122ina: Fi Leaning back creates the ilusion of moving in an upward or forward direction, Jumping: Five Postures (ri leaning forward suggests moving in a directly vertical rather than onward direction, with more dramatic leaning heightening the effect. © Leaning Back Leaning Forward ~~. Leaning Forward g y ¥ ~ Dramatically Level Arcing the leg suggests the direction of motion and speed. ‘The greater the body's forward incline, the more the arms swing back. Front View Adding a shadow underneath the figure creates the illusion that she is airborne, Iy 3/4 View Extending a leg in ‘adownvard direction suggests, that the character Is leaping down fam decty ‘ey )\ Shing the same figure “An erect jumping figure appears the —{_ 267 | nme enna ‘same as an erect running, so add a —— shatow underneath to create the ilusion ee) i) } ee se mann hat thatthe characteris suspended in a she fs moving in a ‘horizontal direction. a 123ing: Fi Leaning back suggests nimbleness and buoyancy, while leaning forward Landing: Five Postures Portrays the force of impact or speed (.. elevation) ofthe leap. ¢ ¢ 4 A77 Leaning Back Erect ©) Leaning Forward Leaning Forward Dramatically SSS tered Raising one leg emphasizes the sense of light Drawing both feet on the sé a dramatically leaning The level pose produces a nimbleness. ‘round generates a ‘forward posture to portray character striking an sense of weight. ‘character kneeling on unusual pose when ‘one leg. landing on the ground, eo MWA <> ‘The greater the distance between the arm and the ‘In the above, the arms Her hand just scarcely With this posture, the torso, the more relaxed the character appears. separate just barely from grazes the ground with arms are positioned a the torso. her fingers shoulder-wiath apart 3/4 View ~ ‘The leg touching the ground is extended. ‘The legs bend slightly at the knees. 124© vearing back = ret % vwannpfoners ti oer | ||| showing the | back arcing sighty makes the forward leaning posture The back becomes rounded when leaning forward ‘sramatcaly. e Ui ‘The palm angles stightly upward. } Using the Legs' Positions to _The position of a single Jeg suggests the Suggest Directionalty direction of propulsion. Vertical effect lines Descending from above One leg swung back / One knee shittes forward suggests descending to the ‘suggests leaping forward ‘Arced effect lines Leaping forward from ‘ground from directly {kom veerwant Gracin behind. We. ‘to touch the ground. 125Stylizing Gestures Draw re, eng mouth 1:4 Head-to-Body Ratio KN \ WL K / \ Bev, \ ‘Showing a character yawning with a downcast {gaze makes her look sweet and endearing 1:3 Head-to-Body Ratio \ {At the beginning and end AN of a yawn, we tend to assume an ordinary posture. Establish the mouth's size at te layout stage in order to gain a concrete idea of how the final image should appear. 126 Strive to make the mouth occupy ‘ ‘approximately half of the entire head. Stylized facial expressions and movements are essential to capturing characters in moments of ordinary, unconscious acts. 1:2 Head-to-Body Ratio Have the mouth occupy more than haf of the head. Here, the mouth is exaggerated such We tend to turn our faces upward that it extends beyond the head's during a yawn's cima. exterior contours. The mouths interior has been simplified \A > } /) From angh age, he S/ cheles induded in the 7. Yanni gre’ aout 5 grow smaller the further ‘own the eye travels. TOSS When a character is yawning broadly, make the face appear straining. To make the ‘character look cute, omit ‘drawing the mouths interiorSneezing causes the entre body to tense unconsciously. When sneezing, the body tends to assume characteristic poses, such as the elbows jut out, the hands cut into fist, etc. The face does not smile 14 Heat Body Ratio, ~ 1:2 Head-to-Body Ratio (a Kee Ab-cheo! WwW AD ry aos These shows he math drt» Hae hws pa ded erate the “ah!” part of the sneeze, Steak by Sha i natn wi sneeze. The breath blows forcefully from tow the mouth wining ‘the mouth, so show the mouth rounding exaggerated to the sides, Bast peonmneny te ‘The above portrays the moment that a Teenie body becomes inicved a a re tion was In the act of sneezing, so show intended to make the sneeze appear ‘movement in the hair and skirt ‘so forceful that it might even blow the hem even ithe characters character, ere away, othe gure " as drawn forming a large“ Bean Ay ts ‘The layout above is actually the act of leaping down. However, it also lends itself to portraying a sneezing fit suddenly striking a character while walking along, etc. oh ‘(Ef © (4 Drawing an arcing back and arms jutting 4 outportay the characters ieaiegsot TY ‘hostility at being stricken by a sneeze. This ZL? lear fr peng & pong one of desperation in the face of an unstoppable sees 127Scratching the Head/Tearing at the Hair ) This act may be applied to a range of situations from when ‘a character simply feels itchy to throwing a tantrum. serach seach scratch, seratch aera we i fingers are not clenched “a S " into a fist. Show the ‘t nm fingers buried halfway (! Oi ; eaten Z Scratch, scratch On a character drawn at 1:2 head-to-body rato, ‘the and is able to reach 7 no further than the fore The above shows a character scratching an ‘MAE itchy spot on her head with her hand. Aaaghl ‘These circles ae iy 4 legs' lengths } sy ‘rom the knee to ee dyer vie SE ‘The above shows a gil who appears to be holding her head. The effect lines and sound effects convey movement and itchiness 4 « & Ye Ve The above shows character wth her head ted “The above shows a fur- /\ ‘armed figure. The 1 C4 down while she scratches it The arms were craps seven mastes frazzled, and we sense (6 heaven een @€ / ‘without added special Ler na eK chet ies tes er named D8 sound eft portrays an etmaspere of CHES panic extending beyond mere distress. Each hand les ata different angle and has Soe positioned fingers. Al ofthe hands should be drawn at 428 Approximately the same size.‘Studying the Portrayal of Rapid Motion in Scratching the Head These effect lines were added to 1,0 \ y To produce the above, fist the hair X< layout was raw, and then extra arms & The fet rock back on their wore added, Merely ading four arms beets, suggesting an and two hands sufcienty evoked a The above layout displays agitated psychological state. frantic atmosphere. the act of holding the head. This pose may be applied to reacting with alarm, et. The figure tothe lett is a proiminary sketch. The addition of five to six curved effect lines creates the feeling of violent ‘mation. | ro i rT \\ with the curved effect lines tO, Shae * the preliminary sketch. 129Gobbling Food) r@wing a single character with mutiple faces and bodies 7 i Creates the illusion of fast-paced mation. rene consist of nothing but a Gobble Gobble, gobble face and arms, ‘The girl reaches for everything in sight. The figure echoes evoke a sense of rapid ‘movement. The theme ofthe above arpoeicn 4 noe The primary gure should 7 include a torso, Effect lines onthe right and left suggest rapid \\ ight to et X | ‘movement. Here, tree bodies suggest rapid ‘movement to the right and left. Now, “greed seems to be more the theme aan 5 ‘The center body should be drawn fist. This compasiton shows two figure ‘echoes with torsos, creating a ‘The figure echoes to the right and somewhat slower pace. left were added after the center tN body, ‘The central body tums a bottle — Q upside down to chug down its Contents, while the right and lft bodies add an up ) ‘and down movement tothe overall composition. This creates a the effect of a stop-motion camera within this whiwind of ‘action, suggesting thatthe characteris relishing eating and drinking so much that she can't help but gorge herself ‘The portion of the arm obscured by the piece of meat was included in the preliminary sketch, Here we see a git gobbling meat at a tremendous pace. Both te piece ‘of meat and hand are portrayed using echoed images. 130The Figure Echo Drawing Process eg J) ‘Start by drawing the central figure. If this particular —_ ‘Next, other actions this character performs are added. Drawing the echoes’ epee composition more intresting. All ofthe figure echoes should have the same ‘ized heads figure's movements must be made to appear rapid, then add multiple arms, et. at this stage. Draw an exaggerated volume of food as well A cornucopia of cake to dramatize the scene. S —Iie ZN_ALS Gobbie SY te ne ‘Add details and a sound effects (as ( . handwiten words) ) to complet the N composition, = Final image ofthe character vigorously ‘orging herset 131izi i Stylized emotions work well when they are exaggerated and melodramatic. Make an Stylizing Emotions effort to master using the face and body to portray emotions. Cheerfulness_) Laughter and feelings of joy, delight, etc. _ The eyebrows form ~ 2 roolike shape - ‘The eyes are + inverted "U's, U/ “ ~ Remotes (4) peut shows he ale eel S44 ims radiating in our SP tections trom the figue's Sparking effect N center. When portraying a ‘These ae the distinguishing {> | cheery emotional state select features of "cheerfulness" as Nf Satan orca seen ona character designed YY \ poahres and etacoe. 10 look tke a dol. y ‘ Smiling: Effects of the Mouth Use the mouth to indicate delight, joy, and cheer. Regardless of whether the character has ‘upturing or downward slanting eyes, showing the corners of the mouth turned up will give the character a cheerful expression, 132Joy Portrayed through the Body rc ry Lf EEX) et Ny ah \\ RS Ky uv Saereres sore creat an robgoas ay ‘mood, Having the body arc backward when running and jumping also suggests a buoyant, bubbly mood. Delight + Rapture —+ Bursting into Dance: Heightened Expressions of Joy A body extending into ouward directions is used to pray each mood. away from the torso, leaving the sides exposed. \ ; \ NS A, \ 2P creates the appearance of leaping wth oy. ‘The actions of leaping and raising both arms Draw the limbs radiating in four ‘Show the arms waving above the head ‘express delight and ublance. The taut extended directions to portray rapture or elton othe arms and legs extending away fingers and open palms evoke a cheerful from the body to portray an ecstatic or atmosphere thrilled emotional state. 133Laughing While Standing. oraw rough ayout. Draw the body arced (o> Toporraya Toportray acharater Toshowa character.» like a bow to portray character standing bending over with | twisting with laughter a character thrusting (erect and / laughter, draw the » draw the head and her head back and | tauging, show pe by err body tunedin two laughing This is the |, the chin titted up. “<1 forward and use @ different directions. a posture a character / maderate high angle ‘wl assume when composition holding herbelin \ / laughter. becomes | foreshotened. | 1S ae /\ \ ‘away from the { Ds \ . | voy geneva Sf \_) Showing the underside o jovial mood, the foot sends the figure off balance, creating a sense of movement. Collapsing with Laughter: Actually Falling Over and Laughing ‘The character ends up lying on her back when bowled back with | Roling onthe ground Pounding the ground Jit aughter inves with ughter consists of legit. Showing bath LS) baling up the body. The the character yng on ams ad eso oth Cy etbows and knees her stomach, Showing legs extended remo bend, ‘only one arm and one A, s ari ‘evokes a sense while showing one leg of movement. and one arm bent creates movement, Raising the chin brings, the face into view, creating an atmosphere of open brightness. Having the arms and legs extend away from the body creates an open, jolly mood. 134Laughing Face Composed from a Low Angle Aa ‘The underside of the raised chin is Raising the chin even further not visible in the above, The hook- shaped nose and longish neck are key features of this head. Atypical Smiles: Smiles with Contorted Eyebrows and Mouths low angle. The underside ofthe jaw is now visible. Using acing (outward extending) Jolly Furniture and forms isan effective technique with Flowers subjects ter han nua. Pox ) ) ee (Sa &$ Kes iY \\ / To suggest an inanimate Draw the mouths of animals results in a face composed from a Sardonic smile object dancing, position its various props and accessories in a radiating patter, ina smile ‘As the chin rises, the magnitude ofthe laugh appears to increase. Here, the head tits dramatically back in laughter ‘The mouth and nose are the only features visible. Raising the chin to an even greater ‘extent results inthe proportion ‘occupied by the features above the mouth to decrease. Using asymmetry inthe eyebrows, eyes, or mouth eliminates a cheerful atmosphere. ‘These techniques are used to portray subtle emotions. Mocking laugh ‘Stylized, bissful joy consists of drawing exposed palms, the soles of the ‘eet, and open limbs extending in four directions in addition to a smiling face. Use these techniques to portray a cheerful, bright mood. 435‘This section looks at eisappointment, sorrow, loneliness, anxousness, and other gloomy emotions. Disappointed, dejected posture N =») The eroonng nad ana SE) Y tne shouders $2009 shoulders cause VAL oe the neck to become { 3 obscures from a font view. — Draw the shoulders sagging and the we re) mowoion 4 | | PY fre on er nee, arootike shape. \ ( 'To-keton he pose 7 \ SL avout, dra two / Tre mou vumedinoan | “GSS \XZ-\,_ marshmallows ona ited upside-down "U". vy - stick. Conceive of a / | ] (erste ung OE = \ inmard or cuting into a 2 ball when portraying a ‘When the character becomes. sloomy emotional state. depressed, etc. show the ‘melancholic emtional state relete in he carage by the Eyebrow and Mouth Effects Use the eyebrns and mouth to express ancy, ent boy “ung ward loneliness, sorow, and other unapoy emotons (77) sag, anguished (GP) nereasinaly anious and eS o— ) melanctotc Note the wrinkle atthe brow. Furrowed => Happy root eyebrows form a curved root-like shape. shaped eyebrows shaped eyebrows. 136( WA — MlayapreenseThe sauder S80, _—_Arous: The head gratualy coos (example High any Te ars and ies pln and the back rounds. (of turing inward). Draw the arms and legs close to the body's center, making the paling inward, ser tothe body's center body ale, = ‘The rounded back, Gar tao, igh as clon tt te tea of Sefton and fretfulness.. a ‘Showing the neck, arms, legs, \ Hi and other body pars pling bs Ivara tna the Dot's & center projects an atmosphere of apprehension - and lonely sadness, even if Unhappy Animals ‘the figure is standing, and Furniture mals and funiture ae —— ys also drawn with rounded (=z) "backs." aohss o The timp cup handle depicted using unduatng contours creates a sense of dispiritecness ‘The above composition illustrates a stylized rencition ofa gloomy emotional state: loneliness. The sad, curved roof-shaped eyebrows, the drooping shoulders, and the forward hunching posture all evoke a sense of forlorn. The feet are spread apart, reinforcing the sense of standing alone and overall lonely atmosphere. the feet where Positioned close together, the posture would appear apologetic rather ‘The giraffe above displays the than fori, Use inward turning forms, use of undulating contours and downcast forms, 437(BgEE) is sete aves nan, segs, anor deste emotona states soe vat, ‘urching posture. The hair is standing 4 ‘The shoulders are squared Ciicating inntation). OF Se ‘The above shows a character walking around seething, annoyed, or iitated. Energy generated from such feelings of anger causes us to assume ‘outward facing or confrontational postures. Make an effort to adopt "angry" body language in your ‘The pgtals standing on artwork, such as walking on the toes, squared fend have already been shoulders, etc aes rele in te pose 7 layout. Show awareness “4 Ww ‘toward using on-end or ~ Icons Used to Portray Anger DM brsting and fowar- 2k, Lang lingo conor Postures when drawing ‘Anger icon Seething Lightning fog charters Seating Angry Eyebrow Effects Use upwardly angled eyebrows to portray discontent, Intation, fury, and other angry emotions. |) The greater the numberof Ce, ightning icons drawn, the more 7 intensely furious the characteris. o \ eV cy Numerous DL S gy! seething icons OD 9 suggest OSS exteme rage. We tend to tense our eyebrows Explosive fury wen ary causn a furow to op it W. 138Angry Body Language: Using the Posture to Express Directionality Discontent The feet shift apart, and the aims cross, creating a triangular silhouette. This projects an angry edginess. surface. The head juts forward. Fury, Part 2: Here, the gil leaps forward in anger. I the target of anger (enemy) had been included in the composition, we (7) Wea a on ee rr _/ (C/ Rapatendte unt nten [i 4 explosion of energy. Actions such as this typealy deed amc ae ag SO tpn Portraying Directionality (Portraying the Direction of Movement) Forward leaning postures have directionality. Merely drawing the character witha tited posture portrays angry movement. f Seething icons should be drawn emitting Z {rom the body's center. Postion the icons ina ratating pattern. Growling: The forward leaning posture ‘suggests that anger tas boiled tothe Fury, Part 1: The above illustrates venting rage. The raised chin and face indicate thatthe gi is yelling. The character's entire body portrays explosiveness. ‘The above composition shows a stylized portrayal of fury. Energy temited in an upward direction is commonly used to suggest anger, justifying the expression “bolting with rage." Draw the hair standing on end and st, squared shoulders. The widely spread ‘eet, the bent arms positioned at the hips, the forward lurching posture, the bent neck, and forward glaring expression ae all, expressions of tension that accompany "anger" 139Portraying Anger and Shouting Vertical motion in the face is key to portraying anger in close-ups. cm The teeth dene andthe fetus down inating \When shouting o exploding in anger, the head rises and building ange. faces forar Oraw the mouth - an Use a trapezoid to ona diagonal io. Se depict mouth \ PT tmpctcenenes 77 / \ TT yeti, “ \ teeth = \ so FEV semany ne __ Draw the head in 2 necks omted || a standard pose from tis pose or angle orange <2) tiangular Aclosed mouth suggests TT mouth woua stoning in anger. 7) suggest - ~ laughter. Looking up and clenching the Showing the head facing teeth suggest suterng onrward suggests thal the endurance, characte is speaking in anger Portraying the Inside of an Open Mouth a vty ecg ortega Wig nondieam:Daw nov ost ger eaeernes ae preety peer tie ccheetaess = heater saa, Suclecieem, tenataya 140‘Surprise/Shock) Te portrayals covered in this section suggest a mixture of complex emotions: being caught by surprise, fear, joy, etc ‘The hair stands Special effect portraying shock ‘The eyes are large ) with tiny irises and pupis. es Shouting (wide- open mouth) ‘ ' ™~ ‘As seen inthe pose layout, radiating - dy imation isthe key to portraying surprise. / Leaping off the ‘The arms are extended out, while the gir ae, . ground jumps up. The hair standing on end is yet a Re ‘another element contributing tothe overall o radiating forms. ‘Surprise: A Variety of Mixed Emotions surprise reflects a variety of emotions, including joy and anger. ‘Astonishment, caught Surprise, shock: The standing unaware lok of hair is one styiization technique used to portray shock. ‘Appalled, angry shock 141‘Surprised Body Language —~ (a Xow ‘Surprise is reflected in almost every aspect ofthe above character carriage, from the way his body bends forward tothe way he leaps back to avoid the snake and even in the styzation of his face. Beads of effective touches. ‘The above shows the character arcing her back as she reacts with fea. She has been taken unawares by something from behind, causing her to freeze in teror. ‘The result isa backward leaning pose with the arms extended over the head Here, the character leans ‘sweat and tears are other potentially slightly forward in mild surprise. She holds her arm in front of her torso. In this expression of intense surprise, the character now pulls back her hips while spreading both arms broadly. To portray delighted surprise, as illustrated here, show the figure leaning back slightly while raisin the shoulders. Gd) J &/ Here, the character has received a severe stun, sending ; her into utter shock, demonstrated by this open pose. This is one means of ilustating panic when the The straight ines demonstrated in this context doesnot permit having the character faint. figure result from the character stitfening 2s a tremendous shock bows her over. The body is stiff and seems about to capsize. Ariss wil often show the character fainted in the next panel Adorable Expressions of Surprise Blackened irises, crossed eyes, ‘and a mouth to form create an innocent visage. 142 ‘Show the eyes cross and the cheeks blush to make the character appear endearing. Note that Characters are made to look cute in their surprise ony in situations caling for “mild astonishment." : eae Not blackening FY Iereasing the J theinsesinteas VT) 7 istance between 2 poaucesa thevpereyeid = \L_ ated ook ~ and te is makes - \\ the eyes appear crossed, even in brote‘Surprise Causing the Heart to Leap from the Chest (( $2) Linear movements S ‘The limbs extend away from the body as if on a fat plane as the figure stiffens. This reaction stil allows the character to look adorable, Recovering from Surprise This forward /, leaning pose is a (posture of ret \ after having |) received a mild (iy sx ‘After receiving a deathly shock, the character collapses limply on the ground with her limbs sprawled in four directions, The tree primary elements here are the asymmetrical eyes, large mouth, and tears. 4 : Arcing movements a ' Linear and arcing movernents x Here, the character has been startled by something from behind, so the figure arcs back in an exaggerated manner. The character's original, sweet prettiness has been lost This illustrates an extreme, stylized reaction ‘The orginal appearance of any characteris shattered in ths radical ofa rendition, The inward directed pose ilystrated above reflects ) exhaustion after having received an overwhelming ~ shock, causing the release of ir intense energy. \ The above shows a — ~ figured fopped down ‘THe above stylized rendition of suprise shows the character jumping limply The upper body though the hea tits slightly back, the neck is stil na visible, a the aes back as the characteris actualy ducking her head, This was intended to evoke a character sits down, Sense ofthe character stfening in suprise. Not only the upper body, but the extended fingers and the hair—the entire figure arcs back subty, intensifying the atmosphere of shock. 443Emotions Expressed through the Entire Bod) Subtle acts such as whether the body parts ae directed inward or outward face up or down convey the character's mood, Postures That Convey a Gloomy or Dreary Emotional State: Turning Inward (Introversion) 1:2 Head-to-Body Ratio f ya {f N a) ( Ly ( a) AK Ne \ \ Nndnd XK ) Y ‘The body is curted into a Crawling on all fours with “The above figure is crouched Ths figure stands limply with bal, and the head faces the face directed down with a rounded back and is rounded back and with the down, conveying extreme ‘conveys a sense of gloom ‘hugging the knees. That we head facing down. This is the ejection. ‘and disappointment, Cannot see the face alone _-most popular pose for projects a gloomy suggesting disappointment atmosphere a 1:3 Head-to-Body Ratio a Effects of the Head's Direction Showing the head tilted down with a downcast gaze alone projects an air of glumness. “D> Drawing the head facing up creates a bright, cheerful atmosphere. 144Poses That Convey Cheerfulness: Turning Outward (Extroversion) 1:2 Head-to-Body Ratio fT flr} C3 Standing witha * Standing with an ‘Stretching conveys Jumping and tal sragitback 7 {end back theses evong ) ater mages of tedrivedctin {feta an | relaxed, tranquil, leaping or ‘sare fincis toes, [| teow Sg cenceofapostie |. ape. / cant one mood. o attitude. - means of portraying 1 eo ny ato ia BN The Effect of Cocking the Head Tilting the head is another stylization technique.Exaggerating with Facial Shadows Facial shadows are a technique that allows the artist to accentuate dips and bumps on the face's surface in order to heighten the emotional state projected. Facial shadows are primarily used with 1:4 head-to-body ratio chibi characters or characters with attractive proportions drawn at a ratio of 1:5 or above. The Fundamentals in Using Shadows to Suggest Three-Dimensionality Shade the face, maintaining awareness of the effects of lighting (where shadows form as a result of the manner in which light strikes the face). ‘To the let isa sphere wit the shadow’s boundary rendered in hatching, This is an abstraction technique that may also be used Basic circle: The illusion of ‘The addition of shading ) a sphere cannot be tums the circle into a created without shading sohere. with chi character. - Pe V1 BAY 7\ 4 \%) j ey, ¢ « — ) eee ‘5 S hil L } | | iy Basic face: The basic face has no shadows, Adding shadows underneath the hair, nose, and jaw; to the side ofthe face; and to other areas ives the face a sense of volume. Using hatching to create a shadow boundary tothe cheek adds a charming touch to the character's face. e caracer wit cit oF aivaciey tN promotes )y / povaon Ngo A character j / J y ‘The abstracted shadows seen above underneath the git's The shadows illustrated above work nose and chin may be used with chibi characters as well. well with realism-style manga. 146Using Facial Shadows to Enhance Emotions Facial shadows are used to heighten intense emotions, such as shock, anger, anxiety, and fear. Shadows Portraying Anxiety and Fear Tie Rioeing sine ore applied assuming a low-angled light source, Front view ‘Without shading S facial shadows are primarily rendered using vertical lines The key feature is the between the eyes. 4 1 Profile view: a sy / ood oa tm) Pod eae a ‘underneath the chin. ee Goreme 's cre somoper /f Von, AG 2 asion J Without shading yar | Solely adding shadows underneath the eyes orto the forehead produces sufficiently effective results. ‘The shadows underneath the eyes are cheek shadows. 147‘The following shadows were applied assuming alight source that It 70% of the face Shadows Portraying Ange ‘from above and another light source that lit 30% of the face from below. This 14 ratio character displays shadows underneath the eyes. | \ the side ofthe face, )) the bridge of the nose, Shading the evoking an intense \ ‘cheeks can make the character } ‘appear excessively cute, so apply ‘cheek shadows with caution, atmosphere. \ 4 \ © i] ys. Hatching on the upper bridge of the tatty tein ates” ff eater ne Sens, Wy Sonatas shaw matt ‘shadow is an effective touch, so go ahead furrowed brow. 44g 25260 your own workCGramatizing Shadows) Tes stadous ae contned with te aces ang of onpastion ote te deste tet an se Dramatizing Shadows used to amatize glaring (0 heighten the mood), shouting (intensity the sense of ange), cancing back anxious inten the sense of apprehension), and other contexts Glaring (Heightening the Mood) (ff al.) ) phe), ‘ Low ange comoston = \ bt wane cas ota itr VLAN wn ch propre, 284 ‘Show the face lit from an above light source and add \ minor shadows underneath shadows to the forehead, the nose, the lips, and N ‘the eyes and on the nose. creer he Shouting (intensifying the Sense of Anger) ‘The above shows vertical lines added trom the forehead tothe sides of the eyes. The shadows added to the comers ofthe eyes are aso effective. High angle composition For this emotion, setting the light source somewhere above the head and adding shadows to the forehead, undemeath the eyes, and undemeath the chin produces effective results. \ Glancing Back Anxiously (intensifying the Sense of Apprehension) The above shows shadows adds ny tothe forehead and underneath the aw ct the nec \ For the example seen to the ‘Shading solely the forehead Level angle of composition left, shading was added to ‘sufficiently heightens the the forehead and the side of ‘sense of worry. the face. 449Portrayal of Emotion and Movement as Seen in the Cover Ilustration ‘The root-shaped eyebrows Give the character a gentle expression, ‘The corners of the mouth rse to form a "U". The intension was to KAZ ‘avoid an overly exaggerated smile, ‘The chibi super- deformed) proportions : { results in a stylistically de-emphasized neck, ~ ‘The posture and positions ofthe legs are the same as those used to portray @ character running or jumping and are used to ‘make the character's actions endearing, ‘The lightly clenched fist gives the character a pretty, Girish air while portraying a sense of fuster.t also ‘ives the composition @ sense of dynamism, distinguishing It from a stil image. The smile was ne-tuned to ‘make it appear more reserved by opting fora mouth smaller than that in the rough sketch, However, the smile sil displays the subtety ofthe orginal Movement in the skit imparts a sense of dynamism, The primary impetus in creating the rough sketch was to condense ‘emotions and moods to their essence to achieve ambiguity. However, ifthe composition nad been left a is, this would have been weakened as the contours were adjusted for the under drawing. Consequently, when cleaning up the lines for the under drawing, hatching was added to the main character's cheeks to create the ilusion of Hatching on the cheeks creates the illusion of blushing Emotion and Movement Expressed in the Rough Sketch Portrayal of emation and movement begins atthe rough sketch stage. The cover illustration of this book constitutes & prime example of emotion and movement being established at the rough sketch stage. Maintaining a distance between the ‘eye and the eyebrow is one condition required to generate a surprised ‘expression. The simple curve of the downward sloping eyes creates the impression of innocent surprise ‘The wide-open eyes evoke the feeling of surprise, while showing the eyes slightly crossed gives the expression an adorable at. The mouth forms an "O*—a technique for portraying surprise The neck i stylistically rendered to suit a character designed with attractive proportioning. Completed Line Drawing The completed line drawing reflects the facial emotion and ‘movement porrayod in the rough sketch. We if Under drawing blushing, thereby heightening the emotion portrayed as well as accentuating her girlish appearance. ‘The process of producing a final under drawing does not consist of ‘merely tracing the lines of the rough or original sketch, The process, extends beyond simply reviving what was created in the original sketch, Rather, itis a process that gives birth to something new. 150Chapter 4 _ Character Design and Color Design Head-to-body ratio sketching is applied to a wide range of character designs. ‘Acquiring the skills necessary to distinguish differences in height, build, and proportioning allows you, the artist, to design a cast of characters and profiles that match the target audience or contents of the individual work. This chapter teaches how design characters and how to use the head-to-body ratio sketch so that it will reflect the character design looking at creating character designs for a family to demonstrate the process. Furthermore, character design is used frequently to produce illustrations or cutouts (single frames) as well as manga and anime. Since character design is also commonly used particularly inilustration as a means of coloring in applying the finishing touches, this chapter presents the practical application of coloring, founded ‘on character design. 151Character Design as Role Assignment The head-to-body ratio is a technique that allows the artist to perfect the proportioning and build of his or her characters. Use the head-to-body ratio to give each character a sense of individuality j i i] A family of characters is a compilation of character sketching employing various Designing a Family jerto-oty rates, Deemine wit image the character should project before drawing. Be Father: He plays golf and ‘Mother: She is youthful Daughter: Her ‘Son: He is an crandfthe: ‘He is Grandmother: She is tatomocts ai” frterag.Coconed sche petranco dt enesedcicandonieginbe and dvb bt Menyomner-ansr — aouterbays”" Kfatwanoge” cdwroges edanicmicad Sutiobe hae crema chaace,” appencs, te nds asd it rotor Gapay saga eqn) Soh my es who tory mato at wham fgue Grain anyhingnsendions Ibrpl iim ean has ad hej habla andes’ coming cing ssa paiouse hoasy, Nowe; tedon Mercian!” ateaenles ane rout iwoceptord” ewe acing” clscsanfowe bark aoatherGhe’Soectsice. weap Hees a height. She is He excels at both black cat. serotyemous ol Solan spt fereiwonis mate gaat 152Distinguishing Height Differences ‘The character's profile determines his or her height. Characters ‘drawn atthe same head-to-body ratio may project differences in height it their head sizes are different. Father: (1:6.5) He is average but slighty port. Give overweight characters a slighty shorter head-to-body rato, Family Tree of Faces ‘The daughter's eyebrows and eyes are similar to the father's. She inherited the downward slope of her eyes from both her mother and father. Mother: (1:7) The ‘mother isa cheerful character. This ratio helps to project a slim and active impression. Daughter: (1:8) tall Son: (1:5) To Grandfather: 1:7) As Grandmother: character, the project a the mother's father,he (1:7) She was daughter has been composed and —_—has been given the given this ratio given a moderately _inteligent ‘same head-to-body ‘and a smalish ‘small head.Care impression, this ratio as she. A face to create the ‘was taken to ensure ratio gives the son moderately shorter look of an ‘she did not appear a smallish face and height makes the energetic elderly Fidiculously taller long legs. character appear more woman. ‘than her mother and father. BEX ‘The son's nose and The mother inherited convincingly elderly, so his face was drawn on the smal side, Me ny Grandfather: Father of Grandmother: Mother eyebrows are her hai from the the mother ofthe mother and the similar to the grandmother. source of the mother's. downward sloping eyes present on the ‘mother and Granddaughter. 153Nude Sketches . > \ T UA Sm \ \ Aw \ i 4 \ ) i OWA aa ‘The nude sketches of the family seen above include the cat, hidden Double-checking Builds and Proportioning bend the grancathers legs inthe final image, ted iaio —baaprao stetetng the gure body ratio body rato eneat ‘rhea. 17 nat. Consists of determining 5 Diabet 17, the head's sz. \ met Meeyrate baer rate determining the over seottoceming oe OQ gros positon an then fleshing out the figure, so really there i ite room for error. However, when designing a large number of characters, itis a good idea to double-check the Droportionng to ensure that the builds match the image intended for the ‘character as decided in the individual character designs, Head + torso /j \ | OH | TG i * Li \| | Walla WAWI A ny Pa ne (longish torso): (ideal build): (long-legged): (longish torso): (longish torso): (ideal build): Torso = 55% Torso =50% Torso= 45% Torso = 55% Torso =55% Torso = 50% Legs = 455% Legs =50% Legs = 55% Logs =45% Legs= 45% Legs = 50% 154Drawing the Clothes press the characters in costumes that best suit the images intended. Double-checking Eye and Shoulder Levels ‘The eye levets of the main character, and ofthe protagonist in particular, are vital. In dialogue soenes, whether a particular character gazes ‘up or down wien talking helps the artist convey to the reader whose lines are being delivered, ‘Shoulder level of daughter ‘Shoulder level of father and mother Eye level of son Groin evel of father \ Aus dW AL 4A 155i iT Maintain flexibility when devising your Role Assignment and Character Design saris Gaara ettace ie Gost ate setting, th lity profile, and the rol A Respect-inspiring Dad Ce Setting: blue-collar father battles a crooked land shark. -~ Inthis situation, strategic positioning ofthe characters makes the father appear strong and respect-inspiring, ‘The protagonist is positioned inthe center of the ‘composition. His posture is straight, and he wears a ‘courageous expression on his face. Make use ofthe character When postioning the daughter designs in drawing the next tothe father, verity where composition. hor groin eve sould be located ty in elation to hs to reflect that t she is tale / + a {Confirm the position ofthe ‘mother's face as she cigs 4 to the son. We bend at the hips wien | leaning forward, so the level of the groin remains inthe same [Postn as when standing up “+ “straight. Positioning the daughter's groin level at exactly | the same height as in her REN At Half ofthe mother's body is hidden behind the father, soit was necessary to draw a full The perperal characters are character design stent Toure layout rhe mater on posttonedarund and cose tothe establishes the ference the back fhe caving to prcagnist to make nim appear between her height and her capture the proper gure impressive far’ propriein, 156Changes in Facial Expressions The key points in altering facial expressions iin the irises and pupils, the eyebrows, and furrows Ever the ‘The typical father: Note the large irises and the gentle eyebrows. Father in atime of perl: Make the iises smaller and show the eyebrows rising. Accentuate the comers ofthe ‘mouth and emphasize the furrow in the brow and the wrinkles atthe ‘comers ofthe eyes. Darken the shadows on his neck ‘Showing the father shouting or displaying a similar angry reaction with the mouth open isan effective portrayal capable of changing the Impression the character projects. Drawing Facial Expressions That Reflect the Character's Personality and Design ‘The subtly furrowed brows and clearly delineated irises and \ that the daughter has gaze on her target, made tothe character depending on or battle action. pupils create the sense despite feelings of worry. sand wrinkles, n outrageous changes may be setting, which in this case is war Here, muscle has been ‘added to the father's original portly build to turn him into a convincing solder KZ YW BS the strength to maintain her Designing Villains and Bad Guys Daughter: Large, downward sloping eyes . LT The dramatically ited ‘owblemaker& \ ‘eyebrows and almost x (44 viral straight-on angle Lee of perspective elicit a sense of vigor wile simultaneously underscoring feelings. trepidation, Mother: Downward As the son's original knit only slightly, He averts his gaze, creat the impression of a concemed but aloof character, Son: Standard eyes design is that of a cool cucumber, his eyebrows of a ‘The profil of the vilan who threatens the family's tranquil household reinforces the father's image as the family's protector. 157Out-of-the-Ordinary Family When faced with an emergency, the family bonds together and becomes battle-ready. To portray such circumstances, the artist needs to outfit each family member in a costume and weapon that reflects his or her individuality. Furthermore, having some of the characters transform ‘ramatcally while others remain relatively the same allows you, the artist, to expand your character repertoire. Regular Appearance | k WE, AR When napinch, the The grander Te father nasa The matheris The son's ileal The gandmather daughter becomes a becomes a man of ‘propensity for always to meet —_a cool cucumber. is likewise calm potent dynamo. action when faced with: ressing his luck. a challenge. and collected. a crisis. 158j | ‘The character designs of the individual famil ibe Character Design by Trial and Error rons oar OO eae >) Daughter B/— LEA The father's head-to- Daughter A:This Daughter B: In this desig, the The son has been The grandfather is The grandmother retains ody ratio remains the design consists of daughter stil retains the same shifted toa mare now a long-legged her 1:7 head-to-body same at 185, ‘ving the daughter shoulder width but her muscular buld t 1:7. Fis character rao but has been gven However nis buld has broagershouders shoulders are now squared aatoo 15. has bean tweaked to an inhuman ft bul teen simmed down, resuingina__insead of unded. She is now ive the impression This gives her an Hi dstnushing brawn appearance. shot in stature, awn a that there § more to oherwoidy mystque, feature isnow alarge ‘Thehead-o-body aloof 1:7. The concepts ths gandfater han which becomes read ratio emans 8. tha se transtoms into an moss the eye. foreshadowing for future atemate ent slot development. D a Vee! er¥ { 4 AY Qt 7 & pay eet \ = Wc The mathe has been cropped from the story, so she as not || been redesigned. 159Redesigning the Characters with Chibi-proportioning Establish differences in the characters’ heights using ratios between 1:3 and 1:4. Half (0.5) and quarter (0.25) head-lengths yield large visual cfferences in height, aa Father: 1:3.5 head-to- ‘Mother: 1:3.5 head-to- Daughter: 1:3 head- Son: 1:2 head-to- Grandfather: 1:3. Grandmother: 1:3 body rato body rato toot rato bony ato neado-boy rato. heat-to-ody rato of = The father and mother are a quarter ‘Te daughter as The son is three- The grandfather is a The grandmothers Ref. Fa. head-length tale than the daughter. the protagonists quarters of ahead- haifhead-ength the same heights Grandfather drawn at 1:3. length shorter, but the geta the grandfather, but without geta {approximately one (platform sandals) the lack of geta gives head) shorter tan add another quarter her the appearance ot head-length to his being shorter. as 4 \y the = hes oh “ os ‘When drawn to typical, ‘toctve proportions, the grandfather's geta Family Drawn with Attractive ‘adds one-sixth ofa head-lenath (ess than 20%) to his height, an Proportions mount measuring to approximately half an ear. This makes his head- to-body ratio within the prescribed range 160Manga-esque Character Designs ‘A.comminging of attractive and chibi-influenced proportions Father: 1:25 head Mather: 1:6 head-o- Daughter 15.5. Son: 1:2 headto- Grandfather: 1:35 Grandmother: 1:3 to-body ratio body ratio hhead-to-body ratio body ratio hhead-to-body ratio hhead-to-body ratio The father has a large head, CO) while the son has a smal Character Stylization the Manga Way bead. The daughter, moter, es Atractve Proportions es and grandparents al share Prop rpeton the same-sized head, a ‘mother as the Bia 1:8 rato daughter po character, this ) 7 ine denotes: / L 19 rato daughter | with the HO ral her eight. ‘Simply differences inthe heights of the manga's characters to make them readily apparent to the reader.Putting Attractive Proportion Designs to Practice Artwork by Kazuaki Morita There is the assumption that a 1:8 head-to-body ratio is the ideal - tioning, but there is no need to stick with that ratio. Ritractive Proportioning Study ) ropa ; Attractive Pro sy slavishly Opt for the proportional balance that you prefer. Morita tends to favor an attractive proportioning of 175. This guideline indicates where the neck and head connect Morita has captured the torso as a oylinde. The moderately high angle composition causes the waist and groin guidelines to take on downward curves, 162This tine captures the curved surtace of the forearm and ives ita sense of three-dimensionalty The shoulders fie along a straight ine ‘owing tothe low This guideline denotes the angle composition. boundary between the i torso and the neck. It clarifies formation of the back and neck. This marks the juncture of Torso the chest and abdomen cotouy// facilitates conceiving of \ 4 the chest as an ‘independent unit, allowing Mortat identy ow the bac and sid srapes tlt tothe unit as @ ‘solid. —This unit becomes the waist ‘and abdomen, This ine denotes where the Posterior begins. ‘This contour establishes the shape ‘ofthe chest including the ribcage, producing the impression ofa trim _ abdomen, ‘This centerline functions as a The right log will hide _- ~ guide forthe spine this layout line in the final image, so there is ‘no need to correct the line functions to indicate how the posterior and thigh connect. 7 This guidetine denotes where the Jeg meets the foot direction in which the foot faced. an aspect of the sketch does not match the image Morta has inis mind, he fixes the drawing Morita captures the toes as immediately. aunt. He uses a curved line to generate a sense of volume.‘Morita draws an X onthe top of ‘Shoulder contour guideline _— the head. This faciitates / establishing the crown of the head, which is ertical to composing from a high angle. “These lines denote guides for the clavices, the ‘chest, and the hips. From a high angle, al ofthese lines describe downward ‘cures. When producing your ovn Waist artwork, avoid drawing the uideine ine a a perfect “ Ccentertine as a pertectly ‘curves forthe shoulder, straight line. Instead, have it describe undulations on the Hest. and waist guidlines This facitates figue's surface imbuing the figure with a sense of volume ‘when composing from a low angle. Direction of the face's _ centering | _ Direction of the chest's centerline Morita draws all centerines so that they adhere to the figue’s surfaces. While the face's Centerline slopes toward the body, the chests guideline slopes outward, thereby describing the torso's depth This guideline defining where the leg attaches to the hip also indicates where the bottom of the torso is located. 164The Actual Sketching Process = foot. \ ‘The head layout e consists ofa circle ‘and X Head Layout o7 0 = Morita sketches the facial features. What results may be considered the under drawing establishing the facial expression. Cleaning up the Contours ‘A dashed line is used _— at the layout stage. | [wo a yr { Morita uses dotted or dashed lines = instead of solid lines for contours that will not appear inthe final image. This guideline denotes where the leg meets the ( V ee Morita positions the groin approximately 3.5 nead-lengths (ie. halfway) along the figure's full height Completed full igure drawing S o\\ aa The layout's contours function as guides in establishing the forms of the various body pars. Its important for artists always to ‘maintain a congealed image of what shapes the body parts shoud take It you plan to ink the drawing immediately afterwards, or if you are a beginning artist, go ahead and pencil in a solid ne through the am 165Finishing Touches and Key Points in Evoking a Sense of Volume Completed Nude Sketch

Das könnte Ihnen auch gefallen

• Good Flag Bad Flag PDF

  

  Dokument8 Seiten

  Good Flag Bad Flag PDF

  Taffarel Micaloski

  100% (1)
• 20 Steps For Creating A Brand

  

  Dokument38 Seiten

  20 Steps For Creating A Brand

  Taffarel Micaloski

  50% (2)
• Shojo Fashion Manga Art School Year PDF

  

  Dokument18 Seiten

  Shojo Fashion Manga Art School Year PDF

  Taffarel Micaloski

  100% (1)
• • Zeitschriften
  • Podcasts
  • Noten
• Mackenzie, A W - The Heraldry of The Clan Mackenzie PDF

  

  Dokument26 Seiten

  Mackenzie, A W - The Heraldry of The Clan Mackenzie PDF

  Taffarel Micaloski

  0% (1)
• Form Your Habits: Why Am I Doing This?

  

  Dokument1 Seite

  Form Your Habits: Why Am I Doing This?

  Taffarel Micaloski

  Noch keine Bewertungen
• Sketching Manga Style Vol 4 All About Perspective

  

  Dokument199 Seiten

  Sketching Manga Style Vol 4 All About Perspective

  Taffarel Micaloski

  86% (7)
• Sketching Manga Style Vol 5 Sketching Props

  

  Dokument199 Seiten

  Sketching Manga Style Vol 5 Sketching Props

  Taffarel Micaloski

  100% (2)
• Disney Paper

  

  Dokument6 Seiten

  Disney Paper

  Taffarel Micaloski

  Noch keine Bewertungen
• Sketching Manga Style Vol 3 Unforgettable Characters

  

  Dokument183 Seiten

  Sketching Manga Style Vol 3 Unforgettable Characters

  Taffarel Micaloski

  100% (4)
• Sketching Manga Style Vol 1 Sketching To Plan

  

  Dokument184 Seiten

  Sketching Manga Style Vol 1 Sketching To Plan

  Taffarel Micaloski

  100% (7)
• Hermes Mercurius Tresmegistus - Corpus Hermatica - Book 01

  

  Dokument7 Seiten

  Hermes Mercurius Tresmegistus - Corpus Hermatica - Book 01

  Taffarel Micaloski

  Noch keine Bewertungen
• Shri Yantra Design - Pat Flanagan

  

  Dokument12 Seiten

  Shri Yantra Design - Pat Flanagan

  krazypop

  Noch keine Bewertungen
• Shoe Dog: A Memoir by the Creator of Nike

  

  Von Everand

  Shoe Dog: A Memoir by the Creator of Nike

  Phil Knight

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (537)
• The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life

  

  Von Everand

  The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life

  Mark Manson

  Bewertung: 4 von 5 Sternen

  4/5 (5794)
• Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race

  

  Von Everand

  Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race

  Margot Lee Shetterly

  Bewertung: 4 von 5 Sternen

  4/5 (895)
• The Yellow House: A Memoir (2019 National Book Award Winner)

  

  Von Everand

  The Yellow House: A Memoir (2019 National Book Award Winner)

  Sarah M. Broom

  Bewertung: 4 von 5 Sternen

  4/5 (98)
• Grit: The Power of Passion and Perseverance

  

  Von Everand

  Grit: The Power of Passion and Perseverance

  Angela Duckworth

  Bewertung: 4 von 5 Sternen

  4/5 (588)
• The Little Book of Hygge: Danish Secrets to Happy Living

  

  Von Everand

  The Little Book of Hygge: Danish Secrets to Happy Living

  Meik Wiking

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (400)
• The Emperor of All Maladies: A Biography of Cancer

  

  Von Everand

  The Emperor of All Maladies: A Biography of Cancer

  Siddhartha Mukherjee

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (271)
• Never Split the Difference: Negotiating As If Your Life Depended On It

  

  Von Everand

  Never Split the Difference: Negotiating As If Your Life Depended On It

  Chris Voss

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (838)
• The World Is Flat 3.0: A Brief History of the Twenty-first Century

  

  Von Everand

  The World Is Flat 3.0: A Brief History of the Twenty-first Century

  Thomas L. Friedman

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (2259)
• On Fire: The (Burning) Case for a Green New Deal

  

  Von Everand

  On Fire: The (Burning) Case for a Green New Deal

  Naomi Klein

  Bewertung: 4 von 5 Sternen

  4/5 (74)
• Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future

  

  Von Everand

  Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future

  Ashlee Vance

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (474)
• A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True Story

  

  Von Everand

  A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True Story

  Dave Eggers

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (231)
• Team of Rivals: The Political Genius of Abraham Lincoln

  

  Von Everand

  Team of Rivals: The Political Genius of Abraham Lincoln

  Doris Kearns Goodwin

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (234)
• Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

  

  Von Everand

  Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

  Gilbert King

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (266)
• The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers

  

  Von Everand

  The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers

  Ben Horowitz

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (345)
• Yes Please

  

  Von Everand

  Yes Please

  Amy Poehler

  Bewertung: 4 von 5 Sternen

  4/5 (1891)
• The Unwinding: An Inner History of the New America

  

  Von Everand

  The Unwinding: An Inner History of the New America

  George Packer

  Bewertung: 4 von 5 Sternen

  4/5 (45)
• Rise of ISIS: A Threat We Can't Ignore

  

  Von Everand

  Rise of ISIS: A Threat We Can't Ignore

  Jay Sekulow

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (137)
• Principles: Life and Work

  

  Von Everand

  Principles: Life and Work

  Ray Dalio

  Bewertung: 4 von 5 Sternen

  4/5 (599)
• Fear: Trump in the White House

  

  Von Everand

  Fear: Trump in the White House

  Bob Woodward

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (738)
• Angela's Ashes: A Memoir

  

  Von Everand

  Angela's Ashes: A Memoir

  Frank McCourt

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (440)
• Bad Feminist: Essays

  

  Von Everand

  Bad Feminist: Essays

  Roxane Gay

  Bewertung: 4 von 5 Sternen

  4/5 (1016)
• Steve Jobs

  

  Von Everand

  Steve Jobs

  Walter Isaacson

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (806)
• The Glass Castle: A Memoir

  

  Von Everand

  The Glass Castle: A Memoir

  Jeannette Walls

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (1713)
• The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are

  

  Von Everand

  The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are

  Brené Brown

  Bewertung: 4 von 5 Sternen

  4/5 (1090)
• John Adams

  

  Von Everand

  John Adams

  David McCullough

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (2409)
• The Outsider: A Novel

  

  Von Everand

  The Outsider: A Novel

  Stephen King

  Bewertung: 4 von 5 Sternen

  4/5 (1839)
• The Light Between Oceans: A Novel

  

  Von Everand

  The Light Between Oceans: A Novel

  M.L. Stedman

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (789)
• Manhattan Beach: A Novel

  

  Von Everand

  Manhattan Beach: A Novel

  Jennifer Egan

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (792)
• The Sympathizer: A Novel (Pulitzer Prize for Fiction)

  

  Von Everand

  The Sympathizer: A Novel (Pulitzer Prize for Fiction)

  Viet Thanh Nguyen

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (121)
• The Woman in Cabin 10

  

  Von Everand

  The Woman in Cabin 10

  Ruth Ware

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (2322)
• Brooklyn: A Novel

  

  Von Everand

  Brooklyn: A Novel

  Colm Tóibín

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (1937)
• A Man Called Ove: A Novel

  

  Von Everand

  A Man Called Ove: A Novel

  Fredrik Backman

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (4610)
• The Perks of Being a Wallflower

  

  Von Everand

  The Perks of Being a Wallflower

  Stephen Chbosky

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (2104)
• Wolf Hall: A Novel

  

  Von Everand

  Wolf Hall: A Novel

  Hilary Mantel

  Bewertung: 4 von 5 Sternen

  4/5 (3811)
• Little Women

  

  Von Everand

  Little Women

  Louisa May Alcott

  Bewertung: 4 von 5 Sternen

  4/5 (104)
• Her Body and Other Parties: Stories

  

  Von Everand

  Her Body and Other Parties: Stories

  Carmen Maria Machado

  Bewertung: 4 von 5 Sternen

  4/5 (821)
• The Art of Racing in the Rain: A Novel

  

  Von Everand

  The Art of Racing in the Rain: A Novel

  Garth Stein

  Bewertung: 4 von 5 Sternen

  4/5 (4200)
• Sing, Unburied, Sing: A Novel

  

  Von Everand

  Sing, Unburied, Sing: A Novel

  Jesmyn Ward

  Bewertung: 4 von 5 Sternen

  4/5 (1103)
• The Constant Gardener: A Novel

  

  Von Everand

  The Constant Gardener: A Novel

  John le Carré

  Bewertung: 3.5 von 5 Sternen

  3.5/5 (104)
• A Tree Grows in Brooklyn

  

  Von Everand

  A Tree Grows in Brooklyn

  Betty Smith

  Bewertung: 4.5 von 5 Sternen

  4.5/5 (1929)