Why the Anime Reference Guide You may be asking yourself why you are holding over 150 pages of anime breakdowns rather than a simple “constuction sheet” The simple answer is that there is no simple construction of the Anime characters: They are based on human anatomy which in turn is treated with STREAMLINED REALISM. So, while Dingus the Dingleberry’s construction can be summed up with a few simple dotted hula hoops... MoDdele CONSTRUCTION Anime characters are rooted in STREAMLINED HUMAN ANATOMY. You must have a knowledge of anatomy and life drawing to tackle this “anime” style.“What is Anime?” Honestly, who cares. That isn’t the point of this guide. For our purposes, anime is a style of animation developed in Japan. Most Americans can identify it pretty easily, yet just as many American artists have a hard time emulating the aesthetic with original work - largely because the American animation industry beats a lot of these principals out of you. Ironically, what | see as the principals in anime are the same CLASSICAL PRINCIPALS of art you probably (and hopefully!) learned in art school, or whatever other art education you had. The point of this guide is to break this vast, rich tradition down to its BASIC PRINCIPALS so you can ABSORB IT, DIGEST IT, and start PRODUCING ORIGINAL WORKS IN THIS STYLE To most people, anime means elongated, overwrought characters with pointy hair and 5 highlights on each cornea - or stubby, eternally gleeful and cute characters with no posable digits. And honestly, 99% of it means just that to me too. This guide weeds out all of the other stuff (nothing to do with its artistic merit) and just gives you the ingredients to hone your skills.Definition of Terms. Throughout this guide, I'll repeat the same terms over and over - some of which | may have pulled out of my head, so i’ll break them down here for clarity. SOLID - a strong 2D representation of 3D form, but based more in reality than “cartoony” volumes. GOOD ANATOMY - when a character drawing exhibits a believable underlying structure based on real, human en a stylized and/or streamlined drawing CRISP LINES - (this one is REALLY CRUCIAL!!!) not too straight so as to become flat and purely graphic, and not too curvy so as to become a spineless bag of goo incapable of communicating the energy in the pose. | liken a “crisp line” to the tension you feel in a piece of hanger wire when you bend it between two fingers... Anime lines most often have this inherent tension. Bold, confident lines! DYNAMIC POSES - a realistic pose that nonetheless communicates a heightened level of ENERGY and TENSION, and in some cases, MOTION/ACTION. Working in a realistic style can be a trap, because often the more realistic the drawing, the less energy and dynamism it has.Dynamic poses are one of the biggest challenges if you get too pedantic, but stay loose and confident and you will do fine. NATURAL POSES - This is where anime REALLY differs from typical American animation. These are poses that are not “mannered” in any way. Rather, they are created from careful and loving observation of the people who populate this crazy world and the “unforced” poses they fall into...ENERGY [IN THE POSE] - this might seem obvious, but it is one of the hardest concepts for most artists. You’ve heard of chi, right? Same thing, but instead of travelling invisibly through your body, it should be travelling invisibly through your character’s pose. Another, less esoteric way of looking at it is “LINE OF ACTION.” This is the animation principal of tailoring the elements in the character (including clothing, hair and shadows) to help “point” in the viewer’s eye in the direction of the energy. GRAPHIC IMPACT - A BOLD, CLEAR, STRONG and DISTINCT silhouette. This is when a realistic pose of a character has the same “power” as a well-designed logo. This is just as important when designing a t-shirt as when staging an action scene. This will help you milk all the ENERGY out of your DYNAMIC POSES! As you will see in this guide, you can also get graphic impact out of simple, idle poses. APPEAL - [The following was lifted right from Frank & Ollie] “A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute.” To build off of their concept, | think to give a character drawing appeal is to craft it with love and honesty and lend it some of your life. Put your spirit into the character’s mind and body! Bring them to life with respect! It will show! EXAGGERATED PERSPECTIVE - This uses dynamic fore- shortening in a heightened way to infuse an extra dose of energy into a pose, action, or composition. It simulates the effects of an extremely wide angle lense.Evangelion Eyes/Expressions... Poses..... . Hands... Perspective... Exaggerated Expressions. Poses... Props. Press Art. Concepts. Studies. Abenobashi Eyes/Expression: Animals....... - Spirited Away Sketches........ Samurai Champloo Hair... Hands. Eyes/Expressions.. Graphic Images.Range Murata. Eyes/Expressions. Graphic Images Tatsuyuki Tanaka. POSES... .ccseeees Graphic Images. Koji Morimoto. Sketches. Poses......... 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TOMAKEA STORYBOARD AND CAMERA PLACEMENT GUIDE CTH PoumewG 'AnGES ARE Flom THe ABove Boot) Evew 1© ‘Yehy ARE VET DEewe SRRTBARDS THIS 1S A CRuclétc srubT [IF You ake CREATING A Pose oF A CHBRACER, CHoice oF "CAMERA Placemenwr"/ere Leet wiee ame A LIV EE WUPACT ow rte FEEL Ow LG THAT ae Comanrun! CATE, IT will also EFFECT THe PeRsPEeTiveE-_ ow THe Bop AN FACE — FURTHERMORE, THIS 1S A DISCUSSION OF THe PSYCHOLOGICAL EFFETS OF ComPosiNo, —Sficloy iio SOME THINGS To THINK ABouT Wien ComPosiNG STORYBOARD PANELS AND ELESHING ouT Snors IN LAYouT — WING “INNocENCeE,“ THE SEQUEL TD Gest IN THE SHELL," AS A optl. You ARE NoT AAERELY “xing DRAWINGS OF CUMKACTERS, PROPS ANO BAcKGRovwdS. You ARE LIKE 4 CINEMATOGRAPHER DECIDING WHERE To PUT A CAMERA (tow HI, Low, oFF To THe SIOE, srRA NT on) In RELATION To THE SUBIETT. You DECIDE wat TYPE OF LENSE To USE To WATCH THE 1000 wir THE SHot (PoRtRAIT, WIDE ANGLE, TEE- Piero, ETe:).~ SHOT. REanEMBER THAT THE RULES oF PERSPECTIVE APPLY to EVERYTHING WITHIN THE PICTURE PLANE _— Not JUST BACKGROUNDS, BUT ACIMRACTERS AND PROPS. DEPENDING ON thaw Close THE CAMERA 15, You may FEE Me FEATURES oF A FACE ConVERGING it PERSPECTIVE, EVEN IN THE ROUGHEST THUMBNAIL, ASK YouRSELF THIS VITAL QUESTION: WHERE IS THE WORIZon LINE Ww THIS SHOT ¢ Tite ONCE You ESTABLISH THAT, MAKE SURE EVERTTHING Agrees wih oT. USE TrRE TOOLS OF Gamera Position AND LENSE TYPE To ENHANCE THE Mood OR EMOTION oF A ears tame DROPPING THE HeRIzon LoweR THW Tre CHARACTERS EYE LEVEL Can AOO A LoT OF MOOD To A SIMPLE SHOT. SEE How DIFFERENT THIS VERSION eee ~ ONE 0S NOT sere ce oR \ weRSE, GUT ONE WILL ~ BE ARE AreRRIATE FeR YouR FNoT,113 SEE How A mood is CONVEYED mekery BY CAMERA PLACEMENT Iw THESE — Two LAYouTS? DON'T De ExTREME - ANGLES JuST To BE TRICKY (LIKE MuMeEL BAY..»), USE THEM Te EXPRESS A Moon, FEELING | PSYCHO LocY. . A ENS SeHeRe 15 4 GREAT Example oF LENSE CEM CHOICE make AL oF THE DFFeNce. To ME, THE WINE ANGLE TREATMENT WORKS GREAT HERE AS A MEANS oF ENHANCING THE TENSION IN & SHOT. —— 7% — €5EG How Orrrereni 4 {= Tus FEELS wit - PORTRAIT LENSE TREATMENI \ woUs THIS Is LIKE A “NORMAL” PORTRAIT LEASE, THE PLACEMENT oF THE CAMERA W RELATION To THE sUBTECT ANO BuxGeounD HELPS To LEAD THE VIEWERS Eye Ri6aT To Mis FACE, ADDING Power To THE SHeT.Se _ = -4 Camnena NST ABOVE GRov0 Two AsRE NICE ANGLE... HORIZON FAR ASoUE rawye PUANE A eRe eS NY hee ’ EN mn Shh"7 Test Two SHoTs HAVE BEEN ENHANCED BY DROPPING Tre HORIZON, So Now THERE 15 A SLIGHT 3 POINT PERSPECTIVE OTHERWISE, THEY CovLD'VE SEEMED VERT FUT. THIS SHoT BELOW 15 ESPEUALLT Dn Am Due TO THE STRONG FoRESHORTENING. eee T 1 7a etd es TT f | ia — i LEFT ThUg Te 7 st A THIS ARM 1S CominiG HERES ANOTHER coo eee oF _ STRONG FoRESHORTENING. KEEP IW IND How Closé THE imicinay Lense 1s To THE SuBJETT_ VERSION. See THe OEPTH CONVEYED BY EVERY PART oF THE BoOY IN The REAL LAYouT A@nE™19 SEE How THE CAMERA ANGE 15 EXPRESSED BY THE PERSPECTIVE IA "Te Boor? HAVING NICE S| CONVERGING PERSPECTIVE Lines Iw THE Back¢rovad: 1S ONLY THE FIRST STEP. , MAKE SURE THe CHARACTERS PERSPECTIVE AGREES wren a THAT OF THe ‘Backezoud.SEE HOW MUCH DYNAMISM 1S GAINED BY TILTING THE HORIZON IN REUON Yo THE PICTURE PLANE? THIS 15 GREAT FoR _— ACTION AND HeHLY EMeTINAL SCEVES. #00 Not oveRusE! tT Loses ITS EFFECT IF Too MANY SHOTS ARE OFF- KILT Efe. BoRizen es THE PERSPECTIVE IN THIS SkErcH PRICTUREPLANE §=—IS THe SAME 45 THE FERL LAour ~ PARALLEL ASovE — ONLY THE GRIEWTATION HAS BEEN CHANGED. MUCH LSS DYN Amc.i N = 7 : = i by ebhl eft Fs fo al i Pa CNS NS | =o, \ \ A COMPARISo OF SCALE IS A 7 GREAT WAT TO Conver DEPTH iw A SthoT. Most Humans ARE Rououur THE SAME SIZE, Fo PLACING THesn IN PERSPECTIVE LETS THE VIEWER GET AN IDEA How FAR WAY Tro THINGS BRE, OR How BIG THe ENVIReNMEnsT BROUND HEM 1%, * ~~ ™*eyeny wittour reRsPEcnvE A LUVES, You GET Av IDEA o- oF THE HeRIZW Awd PERSPECTIVE WW A SHOT. “ft—~ >ALONG THE SAME LIVES AS THE PREVIOUS PAGE, You GET THE IDEA How Low THE HORIZON 1S IN THIS SHOT MERELY BY THE PERSPECTIVE ON TIE CHARACTERS AND THe PLACEMENT OF THEIR HEADS. lad[23 THERE 15 A NIG CINEMATIC SCOPE TO THIS Uo=uT. FEMEMBER* ‘You = ARE Alot i) Stteoan OR TOONLANO ANY MORE, So PLEASE FEEL FREE To Reale’ PUSH YouR FMTS AND ComPos mnons UNTIL THEY GIVE You Tite FEELINEs As Your FAVORITE GwEEPING EPIC LIVE—ActiN Films Do. wi rwane The PERSPECTIVE IN The CloubS Comp ~ NAVE BEEW PUSHED sy FURTYER __»124 Two STRONG LUC BESSoN-srrte 4 POINT PERSPECTIVE sHets — ~ STRAIGHT ON wiTHeut BEING Fiat. VERT POWERFUL an CLEAR.}a> WWE GRext Q Powr PERS, UP-5 HoT — cans BE HEROIC, oR OMtNOVS ...Two CLASSIC EXAIWLES oF PLACING THE CAMERA VERY CLOSE To AN ELEMENT $0 IT THRUSTS THE viewer's EVE INTo THE SHoT. Works every TIME! IAG12'7 HIGH RoRIZ0N, Guout 3 POWT PERIPECTWVE <— VERTICALS —> TILT Two EDGES(az Bork oF These sieTs USE CameRA PluicemeNT To simutaTe 4 cHaRAcTER's PONT oF VIEW, _So THAT WE VIEW A suBIECT Cas FRx) oR AN EXCHANGE (as sao~) i THE WANNER AS THE CHARACTER — Go THAT THE VIEWER MIGAT EMPATHICE MRE CLoSELY wTH THe CHARACTER(S >. MORE TO Com€... THK,Clothing. Sokka. Avatar Screen Grabs.Nor onur is AvayAR INFLUENCED BY 1 TaPAvese ANME But ALS BY Te MANY INCREDIBLY TALENTED ARTISTS wie Have WORKED ON OR STILL WORK on THT 5 How. 1N BURBANK AND IN SEOVL. jer se-34 ONE SUCH ARTIST 1S. ANIMATION DIRECTOR JEONG IN. He teLero THe ANiaMTion ON AVATAR EPisoes 103 AND |O°7 He BRougitT AV (VCREDBLE AVAIDM AL Sor idiTy Ave DYNAMKM TD His. LAYOUTS AN) AMIWATION...ANATOMICAL Sovipity! CRISP Ley AND Forms Coae) 2 Hod, Bees?TEONG IN KNOWS HIS AvATOMY, IT GIVES HIS WoRK INCREDIBLE Cou FIOENCE. oe — 5 Jee How Me Siadows DEFINE The FrewANOTHETS INCREDIBLE ARTIST Wo lA! woR KED ov AVATAR vd INFLUENCES (r_meaviey Zu SRYU i cA ee Col APPARENTLY EPISODE 110) Gl HYUN HAS Aaiaared A HYUN Lor oF S'GNATURE SCENES Fok AVATAR (ins “257 POPULAR 1S THE Fromm AcouTH Guy IN 1DU WHICH WAS ComPETELY Ms WEA), HLS DRAWINGS oF OUR CHARATERS ARE SO ExEMAARS TMT TN MWIMATION Yes THEM AS ModEL AND EX PRESSIOW SHEETS POR AVATARS AVIMWTlowW wPReducrion. Now The ARTISTS HERE PuRBAWk ARE USING His woRk 4% A MEL AV FEEDING IT Bree WD THE Stow,RYU G)_HATUNG STYLE 15 GREATLY wee vEnced ad Y4°es Koor MoRIMOTO , OT HE DEFINITELY M45 14S OWN TOUCH. 8 us oamowes ae LIYE! ie Ne You REALLY GET tie FEELING THT HIS CHARACTERS EAT, BREATHE, FLEEP, DHINIK, Pooh AND BARE — TIT wittn THEY Re Done NOTHING! 1 EVEN REVISED 4aNG avd SOKKAS MAIN MODELS Base) OV GI HYUN S FUCCESTIDNG, ‘OU GET THe IDEA: Hes A BIG INFLVEMCE awh | INSPIRATION FOR AVATAR, LETS Loon 47 Wis DRAUNGS...! Thest DRAwines ARE ALIV,.These DRAwines ARE AUVE ! 10These DRAwives ARE ALIV/. ae [An \ . ‘ wm adRyu Gi_Wyyn Feaeer DReVS GeeaT : ie e ZL oe \, 12 ARAS ,.. ie f) ( Ara / Ti C Any ‘ oeMoke GREAT KATARA DRAWINGS... 13 CREAT FABRIC TREATMENTSMoke GREAT FABRIC/C COT HIG TREAT UE.RY GLHYUN 19 THE MASTER 9F S oKKA ey Yb) Prep, Nove? TYPICALLY, / OoN'T Like 76 / dave THE IRisEs DRAWN (AS DoTS, LIKE AST‘fou caw SEE THAT RYU Gi HYUN REALLY puts | UIMSELF INT THE HEAD of THE CHARACTCR,.. Boor cawovice TELS So Mucn ABouT THRE, s!- € H4RACTERS “ PERSOVAL ITY‘fou CAN REALLY SEE THE ©9617Yes, Gi Hyun RAISES THE BAR Quite Higy Bur THATS WHERE WE LIKE 7 OW AVATARE AND REMEMBER, THs Gur DRavs ALL THe Time — “GY _ AT WORK, ov THE suBu4hNow raat ‘ou Have DIGESTED [46 19 PAGES OF AMArE IMAGES pwd CONCEPTS, LETS Look AT Soue SCREEN GRABS OF FINISHED) AVATAR EPISONEYT with NEW UMERSTAMDING MO APPRECIATION OF WHERE ITS AESTHETIC Comes FROM AND WHAT GOES WTO AMEING IT. Note: THs FIRST BATCH OF IMAGES —_ 1s FRom the PileeT whictl AAS A SLIGHTLY DIFFERENT STYLE 4d MMRECOLY DIFFERENT costumes / LoS. THis 15 TusT PR REFERENCE MD INSPIRATION !dynamic pose natural pose, great hands clear, strong silhouette great attitude/personality aL. great expression attitudes are clear in poses handling of clothes is naturalistic perspective on bodies go great anatomy (see legs and feet) eee nesta) funny expression good anatomynatural, dynamic poses fantastic handling of clothes great dynamic, FLCL-style action Ce Tole Te Lele oles oLetet i e great hand specificity Cem cygreat poses, expressions, clothing treatment ay \ Ne | weea Beecmocsien cnn) 2 | EVAN eR os (oltre eo dynamic action (out of something mundane)% ih ee eet SS cob oh : a e. AS “om i Pe ~ hes oy Comet bw oe cy 3 “ie « Ta faL 4 ’ EN sR ae ilies cy oh ay ry |oes) lots of appeal... eRe Tel Uee eet aTe)great, dynamic action... CRISP LINES!!!great head shapes and expressions... good clothing treatments. 29great steam/dust/explosion FX reference nice large scale waterbending FX >. fel aN oem Ce) (Ou eee Re TORTSgreat expressions...solid a nato omy... great te) +elg-rl ay eee aegreat expressions...great expressions...fol gF-V ear 1 0-1 oes) good knowledge of anatomy in these drawings...dynamic action...