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 . ( Use ight stokes 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 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. J While more clearly defining the hands and feet, Morita sketches layouts ofthe gym suit's design features. ‘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 corners causes the facial Next, Morita draws the eye's pupil and irs with ‘expression to change dramatically in reflected highlights. ‘appearance. Consequently, Morita draws the ‘mouth's contours with extreme care 7 Morita fils in the shadow at the 7 = character's feet. As final touches, Morita adds a few diagonal Morita modulates the weight of the strokes, lines atthe cheeks, checking the overall visual balance 8 Coe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 directly to the head. 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) 2. Full Figure Layout \ Clavicle s 5 | ~ quideine z Line denoting fy the spine > Waist { guideline \ / {| - Groin ; uideline == Morita sketches the body's layout While maintaining a visual image of the spine. o a ‘The legs are on the short side, creating a girishly adorable characte, 3. Head Layout: Adjusting the Contours _- Mosita gives the _— hae volume while : 7 ‘maintaining = 7 N awareness of where the head's exterior contours are located 7 iN Mort reinforces the bodys contours Mortars te torso, the facia to aoerain dare. After having features andthe head's exteror sien th body lear shape, Mora contour in that ore, graualy adds in the facial features, allowing the character to take shape. IN| Na “< \ 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.