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