Anime & Manga Digital Coloring Guide:

Choose the Colors That Bring Your

Drawings to Life! (With Over 1000 Color
Combinations) Teruko Sakurai
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Choose the Colors That Bring Your Drawings to Life!

Teruko Sakurai

1
&217(176
Why I Wrote This Book 7
CHAPTER
2
(\HDQG+DLU&RORUV7KDW
How to Use This Book 9
&UHDWHD&KDUDFWHUĹV,PDJH
COLOR PSYCHOLOGY FOR COLORING
CHARACTERS (PART ONE)

CHAPTER
1
&RORU%DVLFV
Hair Color’s Role in Conveying
Personality and Image
28

FOR PEOPLE WHO DRAW Red Hues 30

What Types of Colors Are There? 12

Orange Hues 34
Image Is Determined by Tone 14

Create the Right Ambiance with Tone 18

Consider a Character’s Palette with a Color Wheel 20

Yellow Hues (Including Gold) 38

Color Combination Techniques: A Closer Look 01 24

ASK THE EXPERTS 1 Q & A #1:

Problems with Applying Color 25
Green Hues 42

Blue-Green Hues 46
 Blue Hues 50
CHAPTER
3
7KH1HZ6FLHQFHRI&RORU
FOR PEOPLE WHO DRAW

Violet and Purple Hues 54

The Power of Primary Colors 82

What Are Warm, Cold and Neutral Colors? 84

Background Colors and Contrast Effects 86

Pink Hues 58
The Relationship Between Characters and
Background Hues and Tones 88

Color Combinations That Affect Character 90

Impressions Made by Light and Color

Brown Hues 62 Combinations 92

How to Distribute Colors:

Useful for Page Design & Layouts! 96

How Colors Are Perceived: Adjusting the

White Hues 66 Impressions Colors Make 98

The Mystery of Color Assimilation:

Colors Mixed in Front of Your Eyes? 102

Tricks Using Color Effects 104

Gray Hues (Including Silver) 70 A Useful Catalog of Gradients 108

World Views Expressed with Color: Seasons,

Time, Places, Flavors 112

Color Combination Techniques: A Closer Look 03

Black Hues 74
ASK THE EXPERTS 3 Q & A #3:
Problems with Applying Color 120

Color Combination Techniques: A Closer Look 02

ASK THE EXPERTS 2 Q & A #2:

Problems with Applying Color 80

3
 CHAPTER
4
+RZ&RORUV&RPPXQLFDWH(PRWLRQV
COLOR PSYCHOLOGY FOR COLORING CHARACTERS (PART TWO)

How Colors Communicate Emotions 122

Love 124 Surprise 132 Fear 138

Affection 126 Anger 134 Worry 140

Fun 128 Sadness 136 Fatigue 142

Joy 130

Color Combination Techniques: A Closer Look 04 144

ASK THE EXPERTS 4 Q & A #4:

Problems with Applying Color 145
 CHAPTER
5
:RUOG9LHZV&UHDWHG7KURXJK&RORU
PRACTICE CATALOG

How to Use This Section 148 Seasonal Scenes and Palettes 149

Easter (Springtime) 150 Fishing for Water Balloons at a Summer Festival 154 Halloween Night 158

Cherry Blossom Season 151 The Beach Resort of One’s Dreams 155 A Potluck Party 159

Staying Home on a Rainy Day 152 Shining Gingko Trees Lining a Road 156 A Snowy Quiet Forest 160

An Afternoon After the Rain 153 Idol School Festival 157 Traditional Festive Kimonos 161

Color Conceptions Around the World 162

Fantasy and Futuristic Palettes 163

A Sacred Heaven 164 &<FXYJQFSI'FYYQJ‫ܪ‬JQI 170 An Ancient Japanese Picture Scroll 176

Hell and Demons 165 A Psychedelic World 171 Early Modern Japanese Retro 177

A Forest Inhabited by Fairies 166 A Dreamy Wonderland 172

ASK THE EXPERTS 5

Q & A #5:
Problems with Applying Color 178

PCCS Color List 180

The Mansion of a Medieval Witch 167 A Romantic Space Trip 173
Glossary of Color Terms 185

Introducing the Illustrators 189

A Training Center for Gladiators 168 An Ancient Crystal Palace 174

The PCCS（Practical Color Coordinate
System) images used in this book are
based on the data provided by the Japan
Color Research Institute, but they are not
accurate according to standard values.

To refer to the standard colors of the

A Magic University City in the Near Future 169
A Dystopia in the Near Future
175
PCCS, please refer to the “New Color
Cards 199” or the “PCCS Harmonic
Color Chart 201-L”, issued by the Japan
Color Research Institute. (Website of the
Japan Color Research Institute: http:/
www.sikiken.co.jp).

6
:K\,:URWH7KLV%RRN

“Although my line art looks good, once I add color, that’s when the illustration
starts to falter.” “My color sense is disastrous, and I want to do something about
it.” “I always use the same colors, it’s monotonous.” Does this sound like you? No
worries, these issues can all be solved, not with coloring technique, but with a
knowledge of color schemes! This book offers a revolutionary way to acquire and
apply an understanding of color schemes for manga and anime characters.

9MNXGTTPMFXGJJSIJXNLSJIXTYMFY^TZHFSQJFKYMWTZLMNYFXNK^TZѣWJ‫ܫ‬NUUNSL
through a color tone sample book. Or use it as an encyclopedic guide, studying
YMJJKKJHYXFSINS‫ܫ‬ZJSHJTKYTSJUFQJYYJMZJFSIXFYZWFYNTS

The comments quoted in the introductory paragraph all came from you: artists
J]UWJXXNSLYMJNWINK‫ܪ‬HZQYNJXXYWZLLQJXFSIKWZXYWFYNTSXTSXTHNFQRJINF9MNXNX
why I wanted to create a book that would teach you about color theory in a fun
and easy-to-understand way.

7
I started by interviewing the veteran instructors in the manga and animation
departments of specialized schools. The instructors are also professionals who
\TWPNSYMJ‫ܪ‬JQIXTYMJXYTWNJXYMJ^XMFWJI\NYMRJFWJYMJJXXJSHJTKYMNXGTTP

A knowledge of color is useless if it is just knowledge. I believe that by using that

PST\QJILJNS^TZWJ[TQ[NSLNQQZXYWFYNTSX^TZXJJYMJFUUQNHFYNTSXFY\TWPNS^TZW
T\SHMTNHJXFSIUWTHJXX&XQTSLFX^TZMF[JF‫ܪ‬WRLWFXUTKYMJGFXNHX^TZѣQQ
be able to freely create a world of your own. If you have this book on hand and
ZXJNYFXFLZNIJ\MJS^TZѣWJHTQTWNSL^TZWHMFWFHYJWXR^UWTIZHYNTSFSIYJFR
FSI.HTZQISѣYGJMFUUNJW

—Teruko Sakurai

8
 +RZWR8VH7KLV%RRN
It’s time to color your creative world, putting color theory into practice and
applying color to your characters. With so many examples and color swatches
included, even those new to coloration and painting techniques will be
able to apply attractive tones to their characters right away.

CHAPTER 2

02
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You’ll learn the relationships between the colors that
determine the impressions the characters make, such
as hair and eye color, and their relationship with back-
C0 M80 Y36 K50
R147 G46 B68 This is a dark red like red wine. A color
#932E44
that gives a Western atmosphere, or a
The qualities and emotions associated with red are joyous,
mature impression, it’s recommended for
passionate, glad and strong. The keyword I’ve chosen is passion. use on characters with both passion in

ground colors. You’ll be able to create the characters

Use it with robust characters that are always emitting a lot of their hearts and cool decisiveness.
energy, or ones that are strong willed and energetic.
WINE RED CAN BE USED FOR
CHARACTERS LIKE THESE!

and world view that you envision.

Red has the longest wavelength,
Has a hidden passion
POSITIVE

so it’s the color that stands out

the most on its own! More mature than their actual age
Reliable

keyword 3DVVLRQ .S‫ܫ‬J]NGQJ

NEGATIVE
POSITIVE

Does not listen to the opinions of others

Has a cold side
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I K K

C A SE S T U DY 1 CASE ST U DY 31

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This is a red with purple jewel tones like a

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This is a bright red that is dyed with the R215 G0 B58
#D12E59
cochineal, an insect native to Central and
#D7003A ruby. It is a color that attracts people, so
South America. It is strong enough to be use it when you want to depict a charis-
called the red among reds, so it’s perfect matic character. It is effective when just
for giving an active impression. used as an eye color too.

RUBY RED CAN BE USED FOR Red Hues 7 8 9

6 10
CARMINE CAN BE USED FOR CHARACTERS LIKE THESE!
CHARACTERS LIKE THESE! C A SE STUDY 1 5 11
Congenial
POSITIVE

A character that stands out

([DPSOHVRI+DLUDQG(\H&RORU&RPELQDWLRQV 4 12
POSITIVE

Has a special presence

A character with combative spirit
Draws people to them
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A natural leader +DLU &RQWUDVW+XH 2 14

Is easily swayed by emotion 5HG+XH (\H&RORURI

NEGATIVE

1 15
POSITIVE

Aggressive and stubborn

NEGATIVE

Their emotions are shown quickly

POSITIVE

Forcibly decides matters in their actions

+DLU WKH6DPH+XH 24 16

23 17
Easily angered 8JQ‫ܪ‬XM ,QWHOOLJHQFHWKDW6KLQHV 22 18
7KURXJK*HQWOHQHVV 21 20 19

30 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE Red Hues 31 C A SE STUDY 1
C A SE STUDY 31 C A SE STUDY 21
6WURQJ:LOOHGDQG Coral pink-hued hair with green eyes can be used
$JJUHVVLYH3HUVRQDOLW\ for characters that seem to be easy-going but in
reality are quite mature. The standout character-
C A SE STUDY 1 istic here is the impression of a personality that
Bright red hair, which would stand out anywhere, b2 d14 protects those around them with wisdom and a
combined with dark eyes indicates a passionate strong- maternal nature.
willed character. This combination is recommended for
characters who have an aggressive, rough side because EXAMPLE &SJFX^LTNSL^JYRFYZWJUWJXJSHJ
v2 dkg2 YMJ^MF[JHTS‫ܪ‬IJSHJNSYMJRXJQ[JX

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A charismatic personality is expressed with purplish

WKHVFHQHDQGWKHHPRWLRQ Pink hair with strong wine red eyes. This combina-
tion can be used for characters who are cute yet
XYZGGTWSFSIXYWTSLQ^NS‫ܫ‬ZJSHJYMTXJFWTZSI
them by expressing all of their emotions openly.
v24 dp16
red-hued hair and blue-green eyes. This combination
is perfect for a hero who sticks to their intentions.

sf2 v1
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Use accent colors that suggest or hint at the
reason for the shock or sorrow.
6HULRXVEXW)UHH6SLULWHG
Base Color Accent Color
Sadness wears many faces. The right color scheme brings clarity and precision to the (or Subordinate Colors) (or Subordinate Colors) 6WURQJ:LOODQG6WULFWQHVV C A SE STUDY 3
moody moments and gray states you’re summoning in your illustrations. C87 M50 Y25 K70
R0 G44 B70
C A SE STUDY 3 Reddish brown hair and yellow-green eyes. Use
#002C46 this combination for unique characters who have
C10 M60 Y0 K35 This is a combination that uses a hue with high satu-
R167 G96 B135 a hidden passion into research, yet on occasion
ration for the hair and one with low saturation for the
C100 M40 Y35 K15 #A76087 show a free-spirited wild side.
R0 G106 B135 eyes. This is perfect for a character who is spirited and
dk2 v11
IMAGE KEYWORDS
KEY POINTS FOR THESE COLOR SCHEMES! #006A87 reliable with a strong will and sense of responsibility,
C17 M83 Y0 K35 dp2 g2 but occasionally shows a cold, emotionless side.
C33 M0 Y0 K60 R156 G48 B112 EXAMPLE &KWJJXUNWNYJI^JYXJWNTZXWJXJFWHMJW
R94 G121 B134
[Melancholy] [Loneliness] Gray and blue hues are mainly used for the nuances #5E7986
#9C3070
of this emotion. Think of brightness as an indica- EXAMPLE &SNSXYWZHYTW\MTMFXFXJSXJTKWJXUTSXNGNQNY^FX\JQQFXHTTQSJW[J ※For the data on each color, please refer to the PCCS list on pages 180–184.
[Disappointment] [Depressed] tion of the intensity of the situation; the darker the C85 M47 Y50 K17
[Despondent] [Discouraged] image the deeper the sadness. This applies to other C0 M20 Y3 K10
R21 G102 B109
R234 G206 B215
32 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE Red Hues 33
emotions too, but for sadness the color of the skin #15666D
[Despair] [Gloom]
#EACED7
is important. If the character is in a lethargic state,
it’s effective to use a colorless, muddy skin color.
This color scheme is based on dark blues, which express
a deep sorrow. Red, which brings to mind an incident or
accident, is also included.

CHAPTER 5 CHAPTER 5

19 20
A DESOLATE WORLD AND A VIRTUAL WORLD A DESOLATE WORLD AND A VIRTUAL WORLD
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The emotion of empty sadness is expressed A moody mind shrouded in darkness is
with low-saturation blue-grays. expressed by contrasting monochromatic
white and black.
Base Color Accent Color Base Color Accent Color
(or Subordinate Colors) (or Subordinate Colors) (or Subordinate Colors) (or Subordinate Colors)

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C35 M15 Y0 K65 C50 M30 Y0 K65

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R84 G98 B115
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#CDE4F2 #30363A

C35 M20 Y0 K30 C35 M13 Y5 K10

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R138 G152 B180
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#8A98B4 #A4BED5
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Use monochromatic white and black to express the depth

Use dark blue-gray or navy for a color scheme that is centered of the darkness. This is a dark scene where the future
on blue-grays. cannot be contemplated.

136 HOW COLORS COMMUNICATE EMOTIONS Sadness 137

C0 M65 Y100 K87 C30 M25 Y30 K0 C0 M55 Y53 K45 C0 M0 Y20 K75 C0 M85 Y80 K20 C75 M37 Y0 K0 C70 M17 Y65 K0 C40 M70 Y0 K0
R67 G16 B0 #431000 R189 G185 B174 #BDB9AE R161 G94 B70 #A15E46 R102 G99 B85 #666355 R202 G60 B40 #CA3C28 R55 G135 B200 #3787C8 R77 G161 B115 #4DA173 R166 G97 B164 #A661A4

C70 M50 Y100 K50 C27 M22 Y15 K15 C53 M27 Y0 K50 C27 M0 Y0 K65 C0 M0 Y100 K7 C100 M0 Y0 K0 C45 M0 Y83 K0 C0 M100 Y0 K30
R58 G72 B23 #3A4817 R176 G176 B184 #B0B0B8 R78 G103 B136 #4E6788 R93 G113 B123 #5D717B R248 G230 B0 #F8E600 R0 G160 B233 #00A0E9 R156 G202 B77 #9CCA4D R181 G0 B101 #B50065

C70 M65 Y100 K87 C0 M0 Y0 K74 C0 M3 Y10 K13 C5 M0 Y0 K5 C0 M15 Y15 K15 C0 M27 Y0 K15 C0 M0 Y0 K0 C0 M0 Y0 K100
R15 G10 B0 #0F0A00 R104 G103 B103 #686767 R233 G229 B216 #E9E5D8 R238 G243 B247 #EEF3F7 R227 G206 B194 #E3CEC2 R224 G187 B203 #E0BBCB R255 G255 B255 #FFFFFF R34 G24 B21 #221815

&UHDWHDZRUOGYLHZZLWKFRORU Keys to This Color Scheme!

A desolate windswept wasteland is suggested with an
“earthy” color palette. Earthen hues centered on brown
bring to mind the color of soil or sand and include variations
p+

lt+

v
2:R 4:rO 6:yO 8:Y 10:YG 12:G 14:BG 16:gB 18:B 20:V 22:P 24:RP

Keys to This Color Scheme!

The color palette uses psychedelic colors to create an
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popular in the latter half of the 1960s and combines vivid,
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such as khaki and olive. This group includes a lot of similar dp XYNRZQFYNSLFSI‫ܫ‬ZTWJXHJSYHTQTWX2FPJKWJJZXJTKUZW- dp

HTQTWXXTYMJPJ^YTZXNSLYMJRXPNQQKZQQ^NXHWJFYNSLXNLSN‫ܪ‬- dk ples, garish yellow greens and electrifyingly shocking pinks dk

cant differences in the brightness levels. dkg to express a virtual world. dkg

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170 WORLD VIEWS CREATED THROUGH COLOR Fantasy and Futuristic Palettes 171

9
 2
I’ll explain the basics of color theory such as hue
and tone in an easy-to-grasp way. The more you
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The diagrams below show the color wheel (see page 20),
arranged by tones. This list forms the basis of the book.

6
8
10 6
8
10
How to look at the color wheel and
tone diagrams

b
The color
wheel
The name
The color groupings in this list are
based on the PCCS colors, and are
depicted with the “abbreviation for
the tone + the number inditating the
color.” For example, the b (Bright)

know about color, without a doubt the more fun it

BRIGHT
tone yellow is expressed as “b8.” The
of the tone
4 p+ 12 4
lt+ 12 (Bright)
Healthy • Cheerful
• Glamorous
Practical Color Coordinate System
(PCCS) is a discrete color space in-
PALE (pale) LIGHT (shallow) Keywords and dexed by hue and tone, developed by
2 Lightweight • Light 14 2 Translucent • Breezy 14 impressions the Japan Color Research Institute.
8

HIGH BRIGHTNESS
• Weak • Kind • Soft • Childish • Fun associated

will become to color your characters.

6 10 It is useful for thinking about color
W 24 • Cute 16 24 16 with this tone combinations. PCCS color data is
4 12 listed on page 180.
WHITE
22 18 22 18
b
20 20 BRIGHT (Bright)
2 Healthy • Cheerful 14
• Glamorous
8 8
6 10 6 10 24 16
4 12 4 12 22 18
ltg sf 20
ltGy 2
LIGHT GRAYISH
14 2
SOFT (soft)
14 7 8 9
LIGHT GRAY (light grayish) Calm • Unfocused 10
6
Calm • Cool • Quiet

Brightness = Vertical axis

8 5 11
24 16 24 16 6 10

MEDIUM BRIGHTNESS
4 12
22 18 22 18 4 12
20 20 s 3 v 13 This is the PCCS Tone Map, which
STRONG (Strong) VIVID (Vivid) is useful for thinking about color
2 14 2 Brilliant • Flashy • Lively 14
Active • Passionate combinations. On top are the bright
CHAPTER 1 8 8 • Conspicuous
mGy 6 10 6 10 • Insistent colors, on the bottom are the dark
:KDW7\SHVRI&RORUV +XHV$UH*URXSLQJVRI&KURPDWLF&RORUV 1 15

01
24 16 colors, on the right are the saturat-
MEDIUM
4 12 4 12 24 16 ed colors, and on the left are the
GRAY g d 22 18 desaturated quiet colors.
$UH7KHUH" Chromatic colors are grouped according to the type of color. These color types are called hues. 2 GRAYISH (grayish)
Muddy • Conservative
14 2 DULL (dull)
Subdued
14
20 23
22 18
17

21 20 19
RED GROUP YELLOW GROUP GREEN GROUP BLUE GROUP 24 16 24 16
We live surrounded by color. There’s nothing in this world that doesn’t have color. Let’s 8 Pale
6 10 Shallow
start by learning about the basic types, the groupings and hues that bring order to our 22 18 22 18 Light

Lightness
dkGy 20 20 4 12
prismatic existence. Weak Middle Strong
dp

LOW BRIGHTNESS
DARK GRAY
8 8 DEEP (Dark) Dark and deep
2 14
6 10 6 10 )JJUѬ+ZQ‫ܪ‬QQNSL Dark
• Traditional
&RORUV&DQ%H/DUJHO\'LYLGHG,QWR7ZR*URXSV 4 12 4 12 24 • Japanese 16 Saturation
dkg dk
DARK (dark) Circle (Color Wheel)

White
DARK GRAYISH 22 18 Tint
2 14 2 Grown up • Durable 14 20
(Dark gray)
The many types of colors • Mature

Lightness
Bk Heavy • Stiff
that exist can largely be

Gray
Midtones
24 • Sombre 16 24 16
divided into two groups: 7KUHH)DFWRUVIRU'HVFULELQJ&RORU BLACK
chromatic colors and 22 18 22 18

Black
Shade
20 20
achromatic colors.
In color science, the items numbered 1 to 3 here are Saturation
called the three attributes of color. When actually ❹ Tone Brightness and NO SATURATION LOW SATURATION REGION MEDIUM SATURATION REGION HIGH CHROMA ZONE
coloring your illustrations, it’s convenient to think of (2) Saturation combined
brightness and (3) saturation together as (4) tone. High Saturation = Horizontal axis
❷ Brightness ❸ Saturation
(The vertical axis) (The horizontal axis) 16
1 COLOR BASICS Image Is Determined by Tone 17
CHROMATIC COLORS ACHROMATIC COLORS The brightness The saturation

([SODLQHGLQDQHDV\WRXQGHUVWDQGZD\ZLWK
of the color of the color

This points to all colors besides whites, grays and blacks. This points to whites, grays and blacks.

❶ Hue
The characteristics
Low High

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of the color, the tint Low

Hue is described in a circle as

shown here (see page 20). I’ll be
explaining tone on the next page.
If you can see even a little In between white, which is the
color, it is grouped as lightest achromatic color, and
chromatic color! black, which is the darkest, there
are various lightnesses of gray.

12 COLOR BASICS What Types of Colors Are There? 13

3
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Cobalt blue is the name of the pigment

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made by combining cobalt oxide with alu- 0068
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minum oxide. It was a color beloved by the
Impressionist painters. This strong blue
can bring out an impression of one who is

I’ve included examples of effective color combinations with committed to a cause, and strives toward
their goals.

illustrations. Since these allow you to understand the effects COBALT BLUE CAN BE USED
FOR CHARACTERS LIKE THESE!

of color instinctively, you can choose the color combinations

POSITIVE

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that you like.

Works toward their ideals
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NEGATIVE
POSITIVE

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R185 G168 B199 #B9A8C7 R221 G103 B115 #DD6773 R164 G214 B192 #A4D6C0 R184 G200 B209 #B8C8D1

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C
CHARACTER’S
HA
AR IMAGE
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C45 M65 Y0 K25 C0 M30 Y17 K0 C0 M12 Y5 K0 C0

C0 M7 Y15 K83
R129 G85 B141 #81558D R247 G198 B195 #F7C6C3 R252 G234 B235 #FCEAEB R81
R 81
81 G7
G744 B66 #514A42

2:R 4:rO 6:yO 8:Y 10:YG 12:G 14:BG

BG 16:gB 18:B
18:
8::B
8:BB 20:V 22:P 24:RP

Keys to This Color Scheme! p+

The Heian period (794 to 1185) was the great age of the
lt+

Japanese aristocrat. Of the colors loved by those Heian

COLOR DATA IS INCLUDED SO THAT
b

higher-ups, the purple derived from the gromwell plant v

was the most prized. Pale colors (usuiro) and dark colors
(kokiiro) all meant variations of this main base purple.
dp
YOU CAN REPLICATE THE SAME
COLOR SCHEME RIGHT AWAY!
dk

5FQJYTIFWPWJIXI^JI\NYMYMJXFK‫ܫ‬T\JWUQFSY\JWJFQXT dkg

favored. Here the color palette is centered on light to dark sf

purples and reds, with muted yellows and greens added as

accent colors.
d

ltg
The colors used in the example illustrations
g
are noted in CMYK, RGB and web safe
colors (#). You can use them immediately
<RXFDQWHVWRXWWKHFRORUFRPELQDWLRQ in digital coloring.
WKDWFDWFKHV\RXUH\HULJKWDZD\

10
 CHAPTER

1
&RORU%DVLFV
FOR PEOPLE WHO DRAW

It’s useful to have a knowledge of color science and color

classification when bringing your illustrations to life.
In this chapter, I’ll walk you through the basics of applying
color, harnessing the power of the color wheel and
its many hues.

11
CHAPTER 1

:KDW7\SHVRI&RORUV
01 $UH7KHUH"
We live surrounded by color. There’s nothing in this world that doesn’t have color. Let’s
start by learning about the basic types, the groupings and hues that bring order to our
prismatic existence.

&RORUV&DQ%H/DUJHO\'LYLGHG,QWR7ZR*URXSV

The many types of colors

that exist can largely be
divided into two groups:
chromatic colors and
achromatic colors.

CHROMATIC COLORS ACHROMATIC COLORS

This points to all colors besides whites, grays and blacks. This points to whites, grays and blacks.

If you can see even a little In between white, which is the

color, it is grouped as lightest achromatic color, and
chromatic color! black, which is the darkest, there
are various lightnesses of gray.

12 COLOR BASICS
 +XHV$UH*URXSLQJVRI&KURPDWLF&RORUV

Chromatic colors are grouped according to the type of color. These color types are called hues.

RED GROUP YELLOW GROUP GREEN GROUP BLUE GROUP

7KUHH)DFWRUVIRU'HVFULELQJ&RORU

In color science, the items numbered 1 to 3 here are

called the three attributes of color. When actually ❹ Tone Brightness and
coloring your illustrations, it’s convenient to think of (2) Saturation combined
brightness and (3) saturation together as (4) tone. High
❷ Brightness ❸ Saturation
(The vertical axis) (The horizontal axis)
The brightness The saturation
of the color of the color

Low High

❶ Hue
The characteristics
of the color, the tint Low

Hue is described in a circle as

shown here (see page 20). I’ll be
explaining tone on the next page.

What Types of Colors Are There? 13

 CHAPTER 1

02 ,PDJH,V'HWHUPLQHGE\7RQH
Even if the same red is used, the impression it gives can change a lot depending on how
light it is and and how bright it is. If you think of color as a tone, it becomes easier to
change the impression an image makes by changing the color.

&RORUV&DQ&KDQJH'HSHQGLQJRQWKH7RQH

Let’s look at the changes of tone in one hue.

High Tinted colors
What Is a Tone Diagram?
The colors that are
This is a standard diagram used to
created when white is
p+ depict the tones of a hue.The original
added to the original
Intermediate colors lt+ color
color (pure color) is placed to the
The colors that are right, and the changes in lightness
created when gray b and saturation are arranged accord-
Pure color
is added to the ltg ing to the rules below:
sf The original
original color
color
Lightness

Pale Shallow
s v Light

Lightness
g d Weak Middle Strong

dp Dark and deep

Shade colors Dark
dk The colors that are
dkg created when black is Saturation

Low added to the original color

Low Saturation High
Looks soft and gentle!

Has a calm impression!

Looks reliable!

[ lt + (light) tone] [dk (dark) tone] [d (dull) tone]

※The impressions that tones make are exlained in detail in the List of Tone Impressions on pages 16–17.

14 COLOR BASICS
 Tone Case Study 1

Highly Saturated Tones

Unique and distinctive! Bright and gorgeous! Recommended for
These are the pure colors plus
the tones that are created
traditional Japanese
by adding a little bit of white, characters too!
black or gray.

p+
lt+
b
ltg sf
s v
g d
dp
dk
dkg

[v (vivid) tone] [b (bright) tone] [dp (deep) tone]

Tone Case Study 2

Low-Saturation Tones
These are the tones that are
created by adding a lot of white,
black or gray to the pure color.
You can express Stylish and Strong and reliable!
a delicate allure! fashionable!

p+
lt+
b
ltg sf
s v
g d
dp
dk
dkg

[ltg (light grayish) tone] [g (grayish) tone] [dkg (dark grayish) tone]

Image Is Determined by Tone 15

 The diagrams below show the color wheel (see page 20),
/LVWRI7RQH,PSUHVVLRQV
arranged by tones. This list forms the basis of the book.
3&&67RQH0DS

8 8
6 10 6 10

4 p+ 12 4 lt+ 12

PALE (pale) LIGHT (shallow)

2 Lightweight • Light 14 2 Translucent • Breezy 14
HIGH BRIGHTNESS

• Weak • Kind • Soft • Childish • Fun

W 24 • Cute 16 24 16
WHITE
22 18 22 18
20 20

8 8
6 10 6 10

4 12 4 12
ltg sf
ltGy LIGHT GRAYISH SOFT (soft)
2 (light grayish) 14 2 Calm • Unfocused 14
LIGHT GRAY
Calm • Cool • Quiet
Brightness = Vertical axis

24 16 24 16
MEDIUM BRIGHTNESS

22 18 22 18
20 20

8 8
mGy 6 10 6 10
MEDIUM
4 12 4 12
GRAY g d
2 GRAYISH (grayish) 14 2 DULL (dull) 14
Muddy • Conservative Subdued

24 16 24 16

22 18 22 18
dkGy 20 20
LOW BRIGHTNESS

DARK GRAY
8 8
6 10 6 10

4 12 4 12
dkg dk
DARK GRAYISH DARK (dark)
2 14 2 Grown up • Durable 14
(Dark gray)
Heavy • Stiff • Mature
Bk 24 • Sombre 16 24 16
BLACK
22 18 22 18
20 20

NO SATURATION LOW SATURATION REGION MEDIUM SATURATION REGION

Saturation = Horizontal axis

16 COLOR BASICS
 How to look at the color wheel and The color groupings in this list are
tone diagrams based on the PCCS colors, and are
The color depicted with the “abbreviation for
wheel the tone + the number inditating the
color.” For example, the b (Bright)
b The name tone yellow is expressed as “b8.” The
BRIGHT of the tone
(Bright) Practical Color Coordinate System
Healthy • Cheerful
• Glamorous (PCCS) is a discrete color space in-
Keywords and dexed by hue and tone, developed by
impressions the Japan Color Research Institute.
8 associated
6 10 It is useful for thinking about color
with this tone combinations. PCCS color data is
4 b 12 listed on page 180.
BRIGHT (Bright)
2 Healthy • Cheerful 14
• Glamorous

24 16

22 18
20
7 8 9
6 10
8 5 11
6 10
4 12
4 12
s 3 v 13 This is the PCCS Tone Map, which
STRONG (Strong) VIVID (Vivid) is useful for thinking about color
2 14 2 Brilliant • Flashy • Lively 14
Active • Passionate combinations. On top are the bright
• Insistent • Conspicuous colors, on the bottom are the dark
1 15
24 16 colors, on the right are the saturat-
24 16 ed colors, and on the left are the
22 18 desaturated quiet colors.
20 23 17
22 18
21 20 19
8 Pale
6 10 Shallow
Light
Lightness

4 12 Weak Middle Strong

dp
DEEP (Dark) Dark and deep
2 14
)JJUѬ+ZQ‫ܪ‬QQNSL Dark
• Traditional
24 • Japanese 16 Saturation

Circle (Color Wheel)

White

22 18 Tint
20
Lightness

Gray

Midtones
Black

Shade

Saturation
HIGH CHROMA ZONE

Image Is Determined by Tone 17

CHAPTER 1

&UHDWHWKH5LJKW$PELDQFH
03 ZLWK7RQH
When nailing down the ambiance and uniqueness of a character, refer to the List of
Tone Impressions on pages 16– 17. Consider if your aim to make the colors cohesive or
to apply and highlight contrast.

$SSO\WKH6DPHRU6LPLODU7RQHVIRUD&RKHVLYH/RRN

If you combine the same or similar tones, it is easy to create a cohesive look. The impressions given by the tones
become the impression given by the character.

&RPELQDWLRQXVLQJWKHVDPHWRQHV &RPELQDWLRQXVLQJVLPLODUWRQHV

TONE TONE
W W
p+ lt+ The same p+ lt+ Adjacent
b tone! b tones!
ltGy ltGy
ltg sf ltg sf
mGy s v mGy s v
g d g d
dkGy dp dkGy dp
dkg dk dkg dk
Bk Bk

The hair, eyes and This color combination

clothes are all colored uses the tone adjacent
in the same g (gray- to the basic tone. A fair
ish) tones, for a cool, amount of variation
calm impression. is created, so it’s a
combination that’s easy
to use.

g20 g18 Itg24 p10+

※The tone diagrams on this page are simplified versions of the Tone Impressions diagrams on pages 16–17.

18 COLOR BASICS
 &UHDWH$PELDQFHZLWK&RQWUDVWLQJ7RQHV

Contrasting tones are those that are far apart on the tone diagram. If they are separated
vertically they have different brightness, and if they are separated horizontally they have
different saturation. Diagonally, you can find tones that have contrast in both.

USED OFTEN!
&RQWUDVWLQJWRQHFRPELQDWLRQV &RQWUDVWLQJWRQHFRPELQDWLRQV &RQWUDVWLQJWRQHFRPELQDWLRQV
FRQWUDVWLQJEULJKWQHVV  FRQWUDVWLQJVDWXUDWLRQ  FRQWUDVWLQJEULJKWQHVVDQG
VDWXUDWLRQ 
TONE Tones TONE TONE TONE
Tones Tones
separated separated separated
W
p+ vertically! W
p+ horizontally! W
p+ diagonally!
lt+ lt+ lt+
ltGy b ltGy b ltGy b
ltg sf ltg sf ltg sf
mGy s v mGy s v mGy s v
g d g d g d
dkGy dp dkGy dp dkGy dp
dkg dk dkg dk dkg dk
Bk Bk Bk

dk4 It14+ Itg2 v2 b24 dkg18

This is the easiest contrasting tone
combination to use. By combining
colors with different brightness, you
can sense movement.
If you use the same color, you can
create effective combinations. Here
red (2:R - see page 20) is used at
different saturations to highlight the
character s appeal.
Colors with both differing brightness
and saturation have the clearest
contrast. This combination is strongly
recommended when you want to
really emphasize the uniqueness of
the character.

Create the Right Ambiance with Tone 19

CHAPTER 1

&RQVLGHUD&KDUDFWHUĹV3DOHWWH
04 ZLWKD&RORU:KHHO
The color wheel is a depiction of colors in a circle. Colors that are placed close togeth-
er on the wheel have complementary characteristics. Colors that are far apart on the
wheel have contrasting characteristics.

2ULJLQVDQG)XQFWLRQRIWKH&RORU:KHHO

In this book we use the color wheel of the PCCS (the Practical Color Coordinate System developed by the Japan
Color Research Institute). It’s usual to depict the v (Vivid) tones of colors with 24 segments on the color wheel,
but other tones are depicted with even numbers only in 12 segments. In the PCCS, even numbers like 2, 4, 6….
and so on are the stars.
8：Y
9:gY
7:rY TIPS
10:
6:y
O YG Colors are all connected! The reason
why colors are depicted in a wheel
11

O
5: The differences in colors are created by
:y
Gree
Yellow

G
Redd

different visible light wavelengths. As a

Yel
nish
Yel

familiar example, we can see changes in a

lo
ish Y

12:
low
O

Or
wG

Ye

variety of colors. The colors of a rainbow

4:r

Yello

an
ll

ge
ow
Ora

ellow

ree

range from red -> orange -> yellow -> green

is
w
nge

hG

Gre
Red -> blue -> blue purple, but purple and red
dish
en
ee r

13:bG

Ora
n

purple are not included. Since purple and

3:yR

nge Bluish
Yellow Green red purple are created by mixing the colors
ish Re
d at both sides of the rainbow, these colors
were added to the color spectrum, and thus
14:BG

Blue Green
2:R

Red
the color wheel was created. The color
Red reen wheel is very useful when considering
lish Blue G
Purp e
Blu
color combinations. Colors that are 180
e
15:BG

rpl degrees apart from each other and facing

1:pR

ish
Pu
en
le

d Gre each other on the color wheel are called

Re
rp
Pu

complementary colors.
ish

ue
Purple
dd

sh Blu
RP

Bl

16:
Blue Purple
Re
24:

rple

gB
e
Blu
Purpli
Bluish
Pu

17
P
:r

:B
23

18: Blue and purple both have

a lot of brightness, so they
P
22: B

21:bP
20:V
19:pB
are on the bottom of the
color wheel!

The reason why yellow is positioned at the top

of the color wheel, is because of all the tones,
it is the ones with the highest brightness!

20 COLOR BASICS
 &RORU&RPELQDWLRQV%DVHGRQ7RQHV

Let’s think about color combinations based on the color wheel. From this point on, the
two colors used for the hair and the clothing will introduce the examples, with the hair
color set to v (vivid) yellow.

6DPHKXHFRPELQDWLRQV $GMDFHQWKXHFRPELQDWLRQV

HUE 8 HUE 7 8 9
Although the colors
are so similar, they
differ slightly so they
Same Neighboring look appealing!
colors! colors!
For color combinations you’re particular about!
Use the same color in different tones!

v8 Itg8 v8 v7 v8 v9

This is a combination using the These are combinations using neighboring or adjacent colors on the color wheel.
same color. The impression given 9MJMZJINKKJWJSHJXFWJ[JW^XZGYQJXTNYѣXINK‫ܪ‬HZQYYTGWNSLTZYYMJNSIN[NIZFQNY^
by the color chosen is emphasized. of each; but the combination is very cohesive. Use this when you want to go for
Since the hue is the same, vary the a particular impression with your color combinations.
tones to combine the colors.

Consider a Character’s Palette with a Color Wheel 21

 USED OFTEN!
0HGLXPOHYHO FRPSOH[ 
$QDORJRXVKXHFRPELQDWLRQV
KXHFRPELQDWLRQV

HUE 8 HUE 8
6 10
Analogous color
The right amount of change becomes an accent!

combinations are
nice and calming.
Colors that Colors that are
are separated 2 not analogous or
by 2–3 hues! complementary

Color combinations that are balanced

v8 b2

v8 g6 v8 d10
These are color combinations where the contrasting hues are 2 to 3 places away Analogous hues and contrast hues are
from the base hue (8:Y Yellow in these examples). Since these combinations used often in combinations, but here is
look cohesive with the right amount of contrast, they are easy to use. an example of a combination that is nei-
ther. The hues are somewhat different.

22 COLOR BASICS
 USED OFTEN!

&RQWUDVWLQJKXHFRPELQDWLRQV &RPSOHPHQWDU\KXH
FRPELQDWLRQV

HUE 8 HUE 8
If you utilize this
combination when
using 2 colors for
Colors that are the hair, you can Colors that
separated by create a distinct are opposite
8 to 10 hues! character! each other!
24

18
20
The contrast is on the strong side!

An intense impact!

v8 v20

This is a combination of hues that are

on opposite sides of the color wheel.
The basic hue difference is 12, but you
can use the hues on either side of that
v8 dp24 v8 It18+
number too. In particular, when creat-
This is a combination that uses hues that are 8, 9 or 10 positions away from the ing a complementary hue combination
base color. Because the hue difference is large there is good contrast, but if you with a v (vivid) tone, a strong impact
combine hues with high saturation the contrast can be too strong. will be created, so if you want to avoid
that, use a hue with low saturation.

Consider a Character’s Palette with a Color Wheel 23

01 COLOR COMBINATION TECHNIQUES

7UDGLWLRQDO:HVWHUQ&RORU6FKHPHV
<RX&DQ8VH)RU<RXU&KDUDFWHUV
The effectiveness of color schemes has been studied since ancient times, and in the West several har-
monic color theories have been proposed. The methods introduced here are classic ones, using colors
that are at the points of a triangle or square when drawn inside the color wheel. You can use these
color combinations when you want to use multiple colors in your character’s hair, or when you want to
make a strong impact.

DIAD COLOR SCHEME TETRAD COLOR SCHEME

EXAMPLE A pentadic color scheme

(COMPLEMENTARY COLOR COMBINATION) (4-COLOR COMBINATION)
A diadic or diad color scheme is when two colors A tetradic color scheme splits the color wheel into
(complementary colors) are used in combination. 4. It combines the colors that are at the points of
It is the same as a complementary color combina- a square in the color wheel. COLOR COMBINATION
tion (see page 23). 8:Y EXAMPLE

COLOR COMBINATION
EXAMPLE
2:R 14:BG dp2 dp8
2:R 14:BG

b2 b14
20:V
dp14 dp20

TRIAD COLOR SCHEME PENTAD COLOR SCHEME

(3-COLOR COMBINATION #1) (5-COLOR COMBINATION)
A triadic or triad color scheme is a tricolor combi- A pentad or pentadic color scheme uses 5 colors
nation. They are the colors that are located at the in combination. Since the PCCS system uses 24
points of an equilateral triangle. colors in its color wheel, which cannot be divided
by 5, W (white) and Bk (black) are added.
8:Y
6:yO
COLOR
COLOR COMBINATION EXAMPLE COMBINATION
W EXAMPLE
b6 b14 b22
14:BG
Bk
24:RP 16:gB
v8 v16 v24
22:P
W Bk
SPLIT COMPLEMENTARY COLOR HEXAD COLOR SCHEME You can choose
SCHEME (3-COLOR COMBINATION #2) (6-COLOR COMBINATION) the tone freely!
A split complementary color scheme does not use A hexad or hexadic color scheme uses 6 colors
one of the complementary colors in a pair, but in- in combination. These are the colors that are the
stead replaces it with the two colors on either side points of a regular hexagon in the color wheel.
of it in the color wheel. COLOR COMBINATION EXAMPLE
8:Y
8:Y
4:rO 12:G
COLOR COMBINATION EXAMPLE
ltg4 ltg8 ltg12

lt8+ lt18+ lt22+ 24:RP 16:gB

18:B 22:P 20:V ltg16 ltg20 ltg24

※The color combination examples on this page use the same tone to make the hue relationships more understandable.

24 COLOR BASICS
 WE ASKED TECHNICAL SCHOOLS!
ASK THE
EXPERTS 4 $
1 3UREOHPVZLWK$SSO\LQJ&RORU
Q & A
Q ,DOZD\VVHHPWRXVHWKHVDPHVNLQFRORU
+RZFDQ,PDNHLWPRUHYDULHGDQGLQGLYLGXDOLVWLF"

A 2EVHUYHWKHDFWXDOVFHQHFDUHIXOO\
6NLQFRORUORRNVGLIIHUHQWGHSHQGLQJRQWKHWLPHRIGD\
A lot of people tend to paint the skin yellow. However, skin color changes depending on the time of day and
the environment. For example, in the evening the skin takes on a reddish tone, at night shadows deepen.
Another method is to differentiate the skin tones between male and female characters. Female
characters can have a reddish skin tone, and male characters can have a yellowish skin tone; this way
when they are side by side, you can create visual difference between them.

Skin tone in the evening Skin tone at night

Q ,WĹVGLIŤFXOWWRDSSO\VKDGRZV
7KH\DOZD\VWXUQRXWGDUNDQGKDYHDťDWHIIHFWŁ

A *HWULGRIWKHSUHFRQFHSWLRQWKDWVKDGRZV EODFN
6KDGRZVKDYHDOONLQGVRIFRORUV
When applying color to shadows, most people tend to choose black. However, in reality shadow color is
more complex. For example, if you want to apply shadow to skin color to make it darker, instead of just
mixing black into the base skin color, try adding a little red to make it a three-color combination. If you are
having trouble with shadow colors, we recommend observing actual colors carefully to see what other
colors besides black are in shadows.

We would like to thank Nippon Designer Gakuin and Nihon Kogakuin College for their cooperation with this section.

Ask the Experts 25

 Q ,DOZD\VWU\WRGUDZUHDOLVWLFDOO\
EXWP\IDFHVEHFRPHWRRGDUNZLWKVKDGRZV:KDWFDQ,GR"

A :KHQ\RXWDNHDSKRWR\RXFDQXVHUHťHFWRUVWROLJKWHQXSWKHIDFHULJKW"
'UDZLQJLVWKHVDPHWKLQJ
Illustrations are created by distorting reality. For example, if you are drawing a character with a backlight,
NK^TZRFPJYMJKFHJYTYFQQ^IFWPNYRF^GJYTTWJFQNXYNH/ZXYFX^TZRNLMYZXJWJ‫ܫ‬JHYTWX\MJSYFPNSLUMT-
tographs to cast light on the face, instead of aiming for realistic accuracy, do what you can to emphasize
the point you want to make in the picture.

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A ,WĹVLPSRUWDQWWRORRNDWDORWRIH[DPSOHV
DQGWRREVHUYHODQGVFDSHV
The keys to becoming more skilled at applying color are observation and consideration. If there is a pic-
ture you like, look at it carefully, and consider why you think that picture is good. You’ll be able to see how
you want to draw more clearly. In addition, you cannot draw something you don’t know well. Sunrises and
sunsets differ, right? Observe the everyday landscape around you, consider it, and repeat your drawings
until you’re happy with the result.

Q 0\FRORUHGGUDZLQJVWHQGWRFRPHRXWORRNLQJUDWKHULQGLVWLQFW:K\LVWKDW"

A 3HUKDSV\RXGRQĹWKDYHHQRXJKGLIIHUHQFHEHWZHHQOLJKWVDQGGDUNV
$QGKRZPXFKVROLGFRORUGLG\RXDSSO\WRWKHGUDZLQJ"
If a picture looks blurry and indistinct, it means that there aren’t many tonal variances, and a lack of
distinctions between lights and darks. In order to solve this problem, try applying a solid color to at least
half of the drawing. A page with more solid color tends to give a clearer impression. In addition, if you are
aiming to become a professional, it is important to always be aware of mixing the “CMY” colors that are
used for printing.

We would like to thank Nippon Designer Gakuin and Nihon Kogakuin College for their cooperation with this section.

26 COLOR BASICS
 CHAPTER

2
(\HDQG+DLU&RORUV7KDW
&UHDWHD&KDUDFWHUĹV,PDJH
COLOR PSYCHOLOGY FOR COLORING CHARACTERS (PART ONE)

Hair and eye color perform an important role when designing

and differentiating manga and anime characters. The right
color scheme brings out the individuality of your characters,
while also adding visual nuance and cohesion.

※The characteristics raised in this chapter are ones based on the impressions given by colors. They do not necessarily correspond with psychology or fortune telling theories.

Eye and Hair Colors That Create a Character’s Image

CHAPTER 2

+DLU&RORUĹV5ROHLQ&RQYH\LQJ
01 3HUVRQDOLW\DQG,PDJH
The hair and eyes determine the impression given by the character. Although the clothes
may change, the hair and the eyes never do, since they are unique to the character.

6L[W\3HUFHQWRIWKH)LUVW,PSUHVVLRQ,V'HWHUPLQHGE\&RORU

We consistently receive essential

Red hues give a Green hues give
NSKTWRFYNTSKWTRTZW‫[ܪ‬JXJSXJX
passionate impression a gentle impression
most of it coming from what we
XJJ9MJ‫ܪ‬WXYNRUWJXXNTSLN[JSG^
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YMJHTQTWXYMFYOZRUNSYT[NJ\

+DLUDQG(\H&RORU'HWHUPLQHWKH,PDJHDQG,QGLYLGXDOLW\RIWKH&KDUDFWHU

When you want to give further

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NSIN[NIZFQNY^YTFHMFWFHYJWNYѣX
WKDWVFKHPHVXJJHVWVWKH SRVVLEOHWRVWURQJO\HPSKDVL]H
JKKJHYN[JYTUFNSYYMJMFNWFSIJ^J
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colors to ones that give an active
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traits or qualities. There are
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28 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 7KH0DLQ&RORU'HFLGHVWKH'LUHFWLRQRIWKH,PDJH

-JWJKTHZXTSYMJNSSJWHNWHQJ‫ܪ‬WXY<JMF[JHWTXXJIY\TF]JX YMJFWWT\XYTHTSYWFXYQFWLJNRFLJHFYJLTWNJX
.SFIINYNTS\Jѣ[JIN[NIJIYMJMZJXNSYTLWTZUXFSIXJYYMJPJ^\TWIXKTWJFHMMZJHFYJLTW^

YELLOW HUES GREEN HUES

Hue numbers 6, 7, 8 Hue numbers: 9, 10, 11, 12
keyword: Cheerful (page 38) keyword: Gentle (page 42)

ORANGE HUES
Hue numbers 3, 4, 5
8:Y
keyword: Energetic 7:rY 9:gY
(page 34) 6:yO 10:yG

5:O
ive
11:yG
ert Yo
ss u ng
4:rO •A 12:G
d

•F
r te

re
ove

sh
3:yR 13:bG
Extr

2:R 14:BG

Int
ous

r
1:pR BLUE-GREEN
o
15:BG
e ri

v
HUES
er
s t

te

Hue numbers:
y

d
RED HUES 24:RP •M •P 16:gB 13, 14, 15, 16
as
Hue numbers ure si keyword:
24, 1, 2
Mat ve
Intelligence
23:rP 17:B
keyword: Passion (page 46)
(page 30) 22:P 18:B
21:bP 19:pB
20:V

VIOLET AND PURPLE HUES BLUE HUES

Hue numbers 20, 21, 22, 23 Hue numbers: 17, 18, 19
keyword: Sensitive (page 54) keyword: Justice (page 50)

Besides the 7 groups above, also consider these:

PINK HUES PINK HUES WHITE HUES GRAY HUES BLACK HUES
keyword: Pretty keyword: Stable Brightness range Brightness range: Brightness range:
(page 58) (page 62) W to ltGy (White mGy (Medium dkGy to Bk (Dark
to Light Gray) Gray) keyword: Gray to Black)
keyword: Pure Neutral (page 70) keyword: Will
(page 66) (page 74)

Hair Color’s Role in Conveying Personality and Image 29

CHAPTER 2

02 5HG+XHV
9MJVZFQNYNJXFSIJRTYNTSXFXXTHNFYJI\NYMWJIFWJOT^TZX
UFXXNTSFYJLQFIFSIXYWTSL9MJPJ^\TWI.ѣ[JHMTXJSNXUFXXNTS
:XJNY\NYMWTGZXYHMFWFHYJWXYMFYFWJFQ\F^XJRNYYNSLFQTYTK
JSJWL^TWTSJXYMFYFWJXYWTSL\NQQJIFSIJSJWLJYNH

7JIMFXYMJQTSLJXY\F[JQJSLYM
XTNYѣXYMJHTQTWYMFYXYFSIXTZY
the most on its own!

keyword 3DVVLRQ

+DLUDQG(\H&RORU'HWHUPLQHWKH,PSUHVVLRQDQG,QGLYLGXDOLW\RIWKH&KDUDFWHU
I K K

C A S E S T U DY 1

&DUPLQH -,6
3DVVLRQ[$FWLYH
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M100 Y65 K10
This is a bright red that is dyed with the R215 G0 B58
#D7003A
cochineal, an insect native to Central and
South America. It is strong enough to be
called the red among reds, so it’s perfect
for giving an active impression.

CARMINE CAN BE USED FOR

CHARACTERS LIKE THESE!
POSITIVE

&HMFWFHYJWYMFYXYFSIXTZY
&HMFWFHYJW\NYMHTRGFYN[JXUNWNY
&SFYZWFQQJFIJW

&LLWJXXN[JFSIXYZGGTWS
NEGATIVE
POSITIVE

+TWHNGQ^IJHNIJXRFYYJWX
*FXNQ^FSLJWJI

30 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 CASE STUDY 12

:LQH5HG -,6
3DVVLRQ[3UXGHQFH
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M80 Y36 K50
R147 G46 B68 This is a dark red like red wine. A color
#932E44
that gives a Western atmosphere, or a
mature impression, it’s recommended for
use on characters with both passion in
their hearts and cool decisiveness.

WINE RED CAN BE USED FOR

CHARACTERS LIKE THESE!

POSITIVE
-FXFMNIIJSUFXXNTS
More mature than their actual age
7JQNFGQJ

.S‫ܫ‬J]NGQJ

NEGATIVE
POSITIVE
)TJXSTYQNXYJSYTYMJTUNSNTSXTKTYMJWX
-FXFHTQIXNIJ

C A S E S T U DY 31

5XE\5HG -,6
3DVVLRQ[3UHVHQFH
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M90 Y40 K15
This is a red with purple jewel tones like a R209 G46 B89
#D12E59
ruby. It is a color that attracts people, so
use it when you want to depict a charis-
matic character. It is effective when just
used as an eye color too.

RUBY RED CAN BE USED FOR

CHARACTERS LIKE THESE!

Congenial
POSITIVE

-FXFXUJHNFQUWJXJSHJ
)WF\XUJTUQJYTYMJR

.XJFXNQ^X\F^JIG^JRTYNTS
NEGATIVE
POSITIVE

9MJNWJRTYNTSXFWJXMT\SVZNHPQ^
in their actions
8JQ‫ܪ‬XM

Red Hues 31
 Red Hues

CASE STUDY 1
([DPSOHVRI+DLUDQG(\H&RORU&RPELQDWLRQV

5HG+XH (\H&RORURI
+DLU WKH6DPH+XH

CASE STUDY 31 CASE STUDY 21

6WURQJ:LOOHGDQG
$JJUHVVLYH3HUVRQDOLW\
C A S E S T U DY 1
v2 dkg2
Bright red hair, which would stand out anywhere,
combined with dark eyes indicates a passionate strong-
willed character. This combination is recommended for
characters who have an aggressive, rough side because
YMJ^MF[JHTS‫ܪ‬IJSHJNSYMJRXJQ[JX

EXAMPLE &XJQKHTS‫ܪ‬IJSYUFXXNTSFYJUFQ

C A S E S T U DY 2 &XWHDQG6WXEERUQ

Pink hair with strong wine red eyes. This combina-

tion can be used for characters who are cute yet
XYZGGTWSFSIXYWTSLQ^NS‫ܫ‬ZJSHJYMTXJFWTZSI
sf2 v1 them by expressing all of their emotions openly.

EXAMPLE &LNWQ\MTXJJRTYNTSXFWJJFX^YTINXHJWS

6WURQJ:LOODQG6WULFWQHVV
C A S E S T U DY 3
This is a combination that uses a hue with high satu-
ration for the hair and one with low saturation for the
eyes. This is perfect for a character who is spirited and
reliable with a strong will and sense of responsibility,
dp2 g2 but occasionally shows a cold, emotionless side.

EXAMPLE &SNSXYWZHYTW\MTMFXFXJSXJTKWJXUTSXNGNQNY^FX\JQQFXHTTQSJW[J

32 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 7 8 9
6 10
5 11
4 12

5HG+XH (\H&RORULQD 3 13

+DLU &RQWUDVW+XH 2 14

1 15

24 16

23 17
,QWHOOLJHQFHWKDW6KLQHV 22 18
7KURXJK*HQWOHQHVV 21 20 19

C A S E S T U DY 1
Coral pink-hued hair with green eyes can be used
for characters that seem to be easy-going but in
reality are quite mature. The standout character-
istic here is the impression of a personality that
b2 d14 protects those around them with wisdom and a
maternal nature.

EXAMPLE &SJFX^LTNSL^JYRFYZWJUWJXJSHJ

C A S E S T U DY 2 &RPELQHV6WUHQJWKDQG,QWHOOLJHQFH
A charismatic personality is expressed with purplish
red-hued hair and blue-green eyes. This combination
is perfect for a hero who sticks to their intentions.

v24 dp16

EXAMPLE &HMFWNXRFYNHPSNLMY

6HULRXVEXW)UHH6SLULWHG
C A S E S T U DY 3

Reddish brown hair and yellow-green eyes. Use

this combination for unique characters who have
a hidden passion into research, yet on occasion
show a free-spirited wild side.
dk2 v11

EXAMPLE &KWJJXUNWNYJI^JYXJWNTZXWJXJFWHMJW

※For the data on each color, please refer to the PCCS list on pages 180–184.

Red Hues 33
CHAPTER 2

03 2UDQJH+XHV
&YYNRJXTWFSLJNXLWTZUJI\NYMWJIFSIFYTYMJWYNRJXNYѣXYWJFYJIFXF
^JQQT\.YѣXFHTQTWYMFYGWNSLXYTRNSIXHMFWFHYJWNXYNHXXZHMFX\FWRYM
FXJSXJTKKZQ‫ܪ‬QRJSYFSIFUUJYNYJ9MJPJ^\TWI.ѣ[JHMTXJSKTWTWFSLJ
NXJSJWL^.YѣXUJWKJHYKTWTQIJWHMFWFHYJWX\MTFWJLTTIFYYFPNSLHFWJ
of others or characters who are tolerant.

.S/FUFSJXJTWFSLJNXHFQQJIIFNIFN)FNIFN
NXYMJSFRJTKYMJTWFSLJQNPJHNYWZXKWZNY
YMFYNXIJHTWFYJITSYTUTKFXYFHPTKRTHMN
WNHJHFPJX PFLFRNRTHMNFY3J\>JFWѣX

keyword (QHUJ\
/HWĹV/RRNDW2UDQJH8VHGDV+DLUDQG(\H&RORUV

C A S E S T U DY 1

9HUPLOLRQ -,6
(QHUJHWLF[&RXUDJHRXV
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M75 Y75 K0
This is a color originally created with mineral R235 G97 B59
cinnebar, and is a red with a strong yellow tint. #EB613B
You can use it to combine the energy of orange
to give the additional impressions of courage
and power.

VERMILION CAN BE USED FOR

CHARACTERS LIKE THESE!
POSITIVE

)TJX\MFYYMJ^ѣ[JIJHNIJIYTITWNLMYF\F^
Powerful
;FQZJXMTSTWFSIMZRFSNY^

Shameless
NEGATIVE
POSITIVE

(FWJQJXX ITJXSѣYHFWJFGTZYIJYFNQX
1FHPXXJSXNYN[NY^

 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 CASE STUDY 12

2UDQJH -,6
(QHUJHWLF[&KHHUIXO
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M60 Y100 K0
R240 G131 B0 A color like the peel of an orange. In
#F08300 Japanese as well as English, this color
name originates from the fruit. This color
expresses an aura that is always positive
and full of energy.

ORANGE CAN BE USED FOR

CHARACTERS LIKE THESE!

Fun-loving

POSITIVE
Caring
Gets along with everyone

9WNJXYTUQJFXJJ[JW^TSJ

NEGATIVE
POSITIVE
;FQZJXKWNJSIXMNUT[JWQT[J
.XSѣYLTTIFYGJNSLUFYNJSY

C A S E S T U DY 31

&DUURW2UDQJH -,6
(QHUJHWLF[4XLFN:LWWHG
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M67 Y80 K10
A color like a carrot. It is a bit darker and R223 G108 B49
redder than orange. This color is effective for #DF6C31
showing that a character is active yet is also
logical and intelligent.

CARROT ORANGE CAN BE USED

FOR CHARACTERS LIKE THESE!
POSITIVE

5WTHJJIXQTLNHFQQ^
Is resilient to changes in their environment
or circumstances
1NPJXSJ\YMNSLX

Restless
NEGATIVE
POSITIVE

)NXQNPJXNSJK‫ܪ‬HNJSH^
1FHPXHTRUTXZWJ

Orange Hues 35
 Orange Hues
CASE STUDY 3

([DPSOHVRI+DLUDQG(\H&RORU&RPELQDWLRQV
CASE STUDY 2

2UDQJH+XH (\H&RORURI
+DLU WKH6DPH+XH

CASE STUDY 1
(QHUJHWLFDQG+HDOWK\
C A S E S T U DY 1
Vivid orange combined with eyes of the same hue
gives an impression of both mental and physical
health and power. Use for a character that eats
everything without being picky, has a loud voice
v4 sf4 and gets along with everyone.

EXAMPLE An active girl who can get along with everyone

C A S E S T U DY 2 2SWLPLVWLFDQG3RVLWLYH
This example has light-colored hair and quiet-looking eyes,
both in orange hues. The combination can be used for a
character who is optimistic and positive, doesn’t complain,
and does the tasks assigned to them without complaining.
b4 d4 They don’t like to over-think things.

EXAMPLE &UTXNYN[JGT^\MTXJXRNQNSLKFHJXZNYXMNR

)UHHDQG8QDIIHFWHG
C A S E S T U DY 3
By making the hair color light and the eye color
dark, this combination expresses a character
with a free aura who is not bound by conventions.
This character lives on their own terms, and likes
lt4 + dp4 fun things. The combination is recommended for
unadorned wild child type characters.

EXAMPLE &\NQIHMNQI\MTQN[JXNSYMJKTWJXY

36 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 7 8 9
6 10
5 11
4 12

2UDQJH+XH &RQWUDVW+XH 3 13

+DLU (\H&RORU 2 14

1 15

24 16

23 17
22 18
6WURQJ:LOOHGDQG 21 20 19
6HQVLWLYH
C A S E S T U DY 1
9MJMFNWNX‫ܫ‬FRJHTQTWJIHQTXJYTWJIFSIYMJJ^JX
are a calm blue. Use this combination for characters
who may look strong but are sensitive, with a deep
NSYJWSFQHTS‫ܫ‬NHYFIFWPXNIJTWFIJQNHFYJXNYZFYNTS
v3 sf18

EXAMPLE &QTSJ\TQKY^UJ\NYMFIFWPXNIJ

C A S E S T U DY 2 ,GHDOLVWLFDQG$FWLYH
The combination of vivid orange hair and very
blue eyes can be used for a character that has
high ideals and is also very active, with multiple
talents. This character is not good at relying on
v5 v19 others, and may try to hard on their own.

EXAMPLE &MNLMXHMTTQLNWQ\MTYWNJXYTTMFWI

,QWHOOLJHQWDQG6W\OLVK
C A S E S T U DY 3
This Complex Harmony (page 95) combination
with dark orange and light blue-green is rec-
ommended for an older sister character who is
stylish and also good at her job.
d4 lt14 +

EXAMPLE &LNWQ\MT\JFWXLQFXXJX\MTMFXFXJSXJTKXY^QJFSINXFQXTMFWI\TWPNSL

※For the data on each color, please refer to the PCCS list on pages 180–184.

Orange Hues 
CHAPTER 2

04 <HOORZ+XHV ,QFOXGLQJ*ROG
>JQQT\NXYMJHTQTWTKYMJXZSFSINYXWF^XTKQNLMY9MJVZFQNYNJXFSI
NRUWJXXNTSXFXXTHNFYJI\NYMYMJHTQTWFWJMFUU^OT^GQNXXFSINRRF-
YZWNY^9MJPJ^\TWI.ѣRZXNSLNXHMJJWKZQ.YѣX\JQQXZNYJIYTFHMFWFHYJW
YMFYFQ\F^XMFXFGWNLMYINXUTXNYNTSFSINXUTXNYN[J<MJS^JQQT\NX
IFWPJSJINYYFPJXTSYMJNRUWJXXNTSXTKLTQI

.SFSHNJSY(MNSF^JQQT\ZXJIYTGJYMJ
HTQTWTKYMJJRUJWTW.SYMJ(MWNXYNFS
YWFINYNTSNY\FXYMJHTQTWTKYMJINXHN-
UQJ/ZIFX\MTGJYWF^JI/JXZX(MWNXY

keyword &KHHUIXO

/HWĹV/RRNDW<HOORZ8VHGDV+DLUDQG(\H&RORUV

C A S E S T U DY 1

/HPRQ<HOORZ -,6
&KHHUIXO[,QQRFHQW
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M0 Y80 K0
This is a color like that of a lemon peel. R255 G243 B63
Since it brings to mind bright light shining #FFF33F
down, it gives an impression of a character
who is not defeated by anything, is inno-
cent and playful.

LEMON YELLOW CAN BE USED

FOR CHARACTERS LIKE THESE!

Innocent
POSITIVE

2FPJXJ[JW^TSJFWTZSIYMJRHMJJWKZQ
1NKJTKYMJUFWY^

Careless or goofy
NEGATIVE
POSITIVE

2FPJXFQTYTKRNXYFPJX
9MTZLMYQJXX FHYX\NYMTZYYMNSPNSL

38 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 CASE ST UDY 21

1HDSROLWDQ<HOORZ -,6
&KHHUIXO[&XULRXV
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M18 Y70 K0
R253 G215 B93 The name of the color refers to the Ital-
#FDD75D ian city of Naples. This color, which gives
an impression of brightness and warmth,
can be used for very intelligent charac-
YJWX\MTFWJ‫ܪ‬QQJI\NYMHZWNTXNY^

NEAPOLITAN YELLOW CAN BE USED

FOR CHARACTERS LIKE THESE!

POSITIVE
+NQQJI\NYMHZWNTXNY^
&Q\F^XUTXNYN[J
-FXLWJFYNIJFX

*RTYNTSFQQ^ZSXYFGQJ

NEGATIVE
POSITIVE
Shallow
,JYXGTWJIJFXNQ^

CCAASSEE SSTTUUDY
DY 31

*ROGHQ<HOORZ -,6
&KHHUIXO[([FHSWLRQDO
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C0 M35 Y70 K0
A yellow that shines like gold. This is the R248 G184 B86
color that is used to express gold digitally #F8B856
or in print. It’s recommended for use with
characters that you want to give the
impression of having superhuman powers
or abilities.

GOLDEN YELLOW CAN BE USED

FOR CHARACTERS LIKE THESE!
POSITIVE

,ZNIJXYMTXJFWTZSIYMJR
5TXXJXXJXXZUJWMZRFSUT\JWX
Changes their circumstances

-FXZSZXZFQMFGNYX
NEGATIVE
POSITIVE

Says outrageous things

(TSHJNYJI[FNS

Yellow Hues (Including Gold) 39

 Yellow Hues
CASE ST UDY 2

([DPSOHVRI+DLUDQG(\H&RORU&RPELQDWLRQV

CASE STUDY 3
<HOORZ+XH (\H&RORURI
+DLU WKH6DPH+XH

(DV\JRLQJDQG
,QQRFHQW CASE ST UDY 1

C A S E S T U DY 1

Use vivid yellow hair with eyes of the same hue for
innocent and goofy characters. The impression given
is of a person who is not good at making plans,
doesn’t sweat the details, is a bit careless but loved
v8 dk8 by everyone around them.

EXAMPLE &GT^\NYM‫ܫ‬ZKK^MFNW\MTNXQT[JIG^J[JW^TSJ

C A S E S T U DY 2 ※The example uses adjacent hues. '\QDPLFZLWK/HDGHUVKLS4XDOLWLHV

Shiny golden hair and eyes are expressed with yellow
hues. This combination is recommended for a type
of character that laughs out loud a lot, and acts as
a leader. They’re able to cheer and inspire those
dp8 v7 around them.

EXAMPLE &UNWFYJXMNUHFUYFNS\MTNXUWTZITKMT\HMFWNXRFYNHMJNX

*RRI\DQG3RVLWLYH
C A S E S T U DY 3
A combination of two bright yellow hues. This com-
bination can be used for a character that is always
optimistic and positive, and is never beaten by their
circumstances. They are goofy and can have their
s8 sf8 head in the clouds, but that’s part of their appeal.

EXAMPLE &LNWQ\MTNXSJ[JWGJFYJSG^MJWHNWHZRXYFSHJX

 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 7 8 9
6 10
5 11
4 12
<HOORZ+XH &RQWUDVW+XH 3 13

+DLU (\H&RORU 2 14

1 15

24 16

23 17
22 18
21 20 19
8QSUHGLFWDEO\&KDUPLQJ
C A S E S T U DY 1
Golden hair with purple eyes can be used for a pop-
ular character who can express themselves with-
out worrying about what others think of them. This
character is unpredictable but has a great sense of
v7 b22 style. They draw attention to themselves.

EXAMPLE &HMFWFHYJW\MTNXXMT\^FSIMFXFGTQIUJWXTSFQNY^

C A S E S T U DY 2 )RUD0HODQFKRO\,PSUHVVLRQ
By combining yellow hair with grayish blue eyes, you
can create a character who gives the impression of
having a sad fate. It’s also useful for scenarios where
FHMFWFHYJWѣXXRNQJNXFHYZFQQ^MNINSLFINK‫ܪ‬HZQYUFXY
lt8 + g18

EXAMPLE &HMFWFHYJW\MTMNIJXFXFIUFXYGJMNSIMJWXRNQJ

5HVLOLHQW'LJQLW\
C A S E S T U DY 3

Soft-colored hair and deep, beautiful blue eyes

are well-suited to a character with a princely
temperament. Use this combination to express
intelligent nobility, a resilient spirit, or a humor-
sf6
s v17 ous personality.

EXAMPLE &UWNSHJ\MTLN[JXYMJNRUWJXXNTSTKGJNSLXTKYFSIPNSI
※For the data on each color, please refer to the PCCS list on pages 180–184.

Yellow Hues (Including Gold) 

CHAPTER 2

05 *UHHQ+XHV
9MJNRUWJXXNTSXFXXTHNFYJI\NYM^JQQT\LWJJSFSILWJJSFWJSFYZWFQ
KWJXMWJXYKZQFSIXFKJ:XJYMNXMZJKTWFHMFWFHYJW\MTHFSWJFIYMJ
WTTRFSIFIOZXYYMJNWUTXNYNTSFHHTWINSLQ^TWTSJ\MTNXFSNSINX-
UJSXFGQJRJRGJWTKYMJYJFRYMFYGWNSLXJ[JW^TSJYTLJYMJW

,WJJSNXYMJHTQTWTKHMQTWTUM^QQ
FSINXFXXTHNFYJI\NYMMJFQYM
FGZSIFSHJFSILWT\YM

keyword *HQWOH

/HWĹV/RRNDW*UHHQ8VHGDV+DLUDQG(\H&RORUV

C A S E S T U DY 1

&KDUWUHXVH*UHHQ -,6
*HQWOH[+RSHIXO
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C20 M0 Y70 K0
This is the color of a liqueur made at the R217 G227 B103
Grand Chartreuse Monastery in France. This #D9E367
color brings to mind the growth of young
leaves in the spring, and can express a bright,
innocent artlessness.

CHARTREUSE GREEN CAN BE USED FOR

CHARACTERS LIKE THESE!
POSITIVE

3NRGQJ
&Q\F^XQTTPNSLYTLWT\
-TUJKZQ

Sometimes their efforts are fruitless

NEGATIVE
POSITIVE

-FXYMJNWMJFINSYMJHQTZIXSTYUWFHYNHFQ
)TJXSѣYQTTPFYWJFQNY^MJFITS

 EYE AND HAIR COLORS THAT CREATE A CHARACTER’S IMAGE

 CASE STUDY 12

(PHUDOG*UHHQ -,6
*HQWOH[,QWHOOLJHQW
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C80 M0 Y72 K0
R0 G170 B110 A jewel color like an emerald. It brings
#00AA6E to mind abundance and intelligence that
comes from within. It gives an impression
of a well-balanced character who is con-
siderate of those around them.
EMERALD GREEN CAN BE USED
FOR CHARACTERS LIKE THESE!

Easygoing

POSITIVE
&UWJXJSHJYMFYUZYXUJTUQJFYJFXJ
.SYJQQNLJSYFSIGWF[J

)NXQNPJXGJNSLHTSYWTQQJI

NEGATIVE
POSITIVE
(FSѣYXUWNSLNSYTFHYNTSVZNHPQ^
Neglects themself

C A S E S T U DY 31

2OLYH*UHHQ -,6
*HQWOH['LOLJHQW
>1RWH-,6VWDQGVIRU-DSDQ,QGXVWU\6WDQGDUGV@
C20 M0 Y75 K70
A color suggested by the deep green color R95 G101 B30
of olive leaves. It has a quiet yet cool ap- #5F651E
peal. Use this combination when you want
to give the impression of a character who
doesn’t mind working diligently.

OLIVE GREEN CAN BE USED

FOR CHARACTERS LIKE THESE!

XXX
Maintains their calm
POSITIVE

XXX
Unsung hero
XXX
&UWJXJSHJYMFYTYMJWXWJQ^TS

)TJXSTYHMFSLJYMJNWTUNSNTSX
NEGATIVE
POSITIVE

)TJXSѣYIT\JQQNSLWTZUX
9JSIXYTMF[JFSFWWT\UTNSYTK[NJ\

Green Hues 
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Buy a horse, 206
grapes for wine-making, 229
Buying horses, 58

C⸺, Major, 3
Cah (Kah), 174
Calico printers, 200
rinsers, 193
Call to the bath, 72
Camel, bite of the, 243
fight, 242
tics, 392
Camels, mode of procuring fighting, 242
Campanile, the, Julfa, 157
Camp out, 348
Captain Burke, 344
Hansard, 343
S⸺, 179
T⸺, R.E., 278
Carapet, Mr., 357
Caravanserai Gulshan, 200
Mokhlis, 182
Carboys, 236
Card-playing, 96
Carpets, Persian, 149;
1883, 150
 all wool, 151
Bath, 152
colours of, 150
fast colours, 149
faults in, 150
“Gelīm,” 152
increase in price of, 153
“Jejīm,” 152
Meshed, 149
mode of laying, 152
“Nammad,” 152
of great value, 151
of Mūrghāb, 151
old, 149
patterns of, 150
quality of, 150
value, 151
why they last, 150
Carvings, Abadeh, 332
Cashmere shawls, 274
Caspian steamer, 211
Cathedral of Julfa, 100
Cats, long-haired, 305
ordinary, 305
Causeways, 198
Cavalry, irregular, 266
Cells of students, 197
Cemetery, Armenian, 162
Chaff beds, 20, 25
Chah Ali Bunder, 275
Chambers, Captain, 127, 176
Character of Armenians, 316
Persians, 314
Char Bagh, 135, 196
Chardūr, 325
Chargāt, the, 322
Charlesiah, 132
Charms, 291
Cheap freehold, a, 206
Cheapness of ice, 240
Cheese, tale of the phantom, 172
Chelinjeh Khan, 223
Chess, 97
Chibouque, 32
Children, dress of, 325
Cholar wine, 229
grape, 232
Cholera, 224
Chuppering, rules of, 259
Chupper khana, interior, 25
a, 386
whip, 22
Church Missionary Establishment, 165
Church Missionary Schools, 144, 163
Church Missionary Society, educational work of, 144
Church of England, 166
Jesuits, 143
Civil suits, 189
Claim to sanctity of Armenians, 73
Classical Persian, 278
Clay biscuits, 334
Cleanliness of Persians, 316
Clemency, royal, 317
Climate, variable, 339
Clothes of Persians, 318
Cocculus indicus, 129
Coffee à la Turca, 6
Coinage, new, 371
Collars, difficulty of washing, 153
College at Ispahan, 196
Teheran, 338
Collins, Sergeant, 293
place of murder of, 351
Colonel Prideaux, 346
Colt, anecdote of a, 103
grey, 239
Comfort of travelling, 55
Common flowers, 172
Complexion of women, 324
Compliments, Persian, 28
Concubines, 326
Confiscation, 155
Constantinople, 5
Conversation with king’s son, 165
Cook, my, tries to take priest’s orders, 139
Cooks, 297
Cook-shops, 298
Coral reef, 342
Cossack regiments, 370
Cost of living, 186
Costume, Persian, 317
of women, 322
Court costume, 50
Courtiers, 199
Cream, mode of obtaining, 171
Credit, 188
Crickets, mole, 216
Crops, 173
Croquet lawn, 167
Crucifixions, 204
Cruelty to horses, 329
to a nun, 140
to Yari, 78
Cruelties to Mirza Naim, 272
Crying off, 188
Cucumber jam, 92
Cuisine, Persian, 296
Curdled milk, 171
Curio buying, 332
Curious accident, 128
ring, 376
Cursing Baab, 155
Curtain in Armenian church, 140
Custom-house, 267
Custom of Shiraz, 379
the Kūrūk, 370
Cut straw, 174
Cyrus, tomb of, 355

D⸺, Mr., 51
Damage to telegraph line, 113
Damascening, 189
Dar, the, 201, 282
Darius, treasure of, 78
Daroga, the, 371
Day in Ispahan, 200
Day of Judgment, picture of the, 161
Debauchee, a, 244
Decorated pond, 50
Decorations, church interior, 160
Dehbeed, 356
tax-man at, 133
Delleh, 69
Demarvend, 373
Dervish and puppets, tale of, 285
at tomb of Hafiz, 278
Dervishes, 42
at Tazzia, 281
garden, 46
hats, 44
horn, 46
 mode of begging, 44
vices, 46
vows, 43
Desht-i-arjeen, 350
Diana, temple of, reputed, 107
Dig for treasure, we, 79
Dilgoosha, 220, 274
Dinner on road, 107
sent away, 245
with a Persian prince, 114
Discipline, 71
Disguise of robbers, 264
Dispensary, my, 200
over the prison, 182
Doctors, 33
Doctors, studies of, 338
Dog-cart, my, 248
Dog, loss of, 129
Dogs, varieties of, 306
Doherty, Mr., 401
Dome, tiled, 196
Donkeys, 365
handsome, 342
Doogh, 171
Doong, 391
Door, substitute for, 394
Doors at Erzeroum, 213
silver, 196
Double snipe, 107
Dozd-gah, 262
Dr. Hoernle, 163
Dr. Odling, 351
Dressel’s, 408
Dresses of honour, 51
Dress of dervishes, 43
Dried bread, 336
fruits, preparing, 169
Drink in Julfa, 141
Drive to Ispahan, 373
Drunkards, Persian, 141
Dubbeh, 188
Ducks, wild, 176
Dunaberg, 407
Dung beetles, 216
Duration of journey, 412
Durbend, 404
Dyah, 326
Dying twice, 203

Early rising, 33, 116

Eating opium, 181
Ecbatana, 80
Economy of trading class, 172
Educated women, 339
Education, 337
of Armenians, 144
Effects of Bastinado, 148
Egglesiah Wang, 138, 157
Embassy, the English, 372
Embroideries, 333
Enamels, 331
English missionaries, 155
Engraving on metal, 332
seal, 184
Enzelli, 210, 402
Episcopal throne, 160
Erivan, 19
Eructation, politeness of, 91
Erzeroum, 212
Esther, tomb of, 75
Etiquette, 28
Evil eye, the, 325
Exaggeration, 315
Execution of a Baabi, 154
of a Prince, 125
of a woman, 275
of women, 122
Executions, 202
Expelled nun, 163
Expenses, our, 187
Eyebrows, painting the, 325
Eyn-ul-Molk, 38
Fair hair at a discount, 324
Faithless women, fate of, 275
Faizabad, 356
Fallen fruit, 311
Fals, 277
Famine, 251 to 255
at Ispahan, 253
at Kūmishah, 254
at Shiraz, 253
grain seized during the, 252
rise in mule-hire during the, 251
Fantails, 94
Fards, use of, 323
Farnooses, 115
Fars, 272
Fast of Ramazan, 284
Fasts, Armenian, 144
Father, the, 314
Fathmeh, 387
Fee, compulsory, of a vizier, 255
Feen, 386
Fellek, 147
Fellow-travellers, Persian, 215
Felt coats, 152, 320
Feramūsh Khana, 124
Ferhad and Shireen, 119
Feridan, 131
Fermenting of wine, 232
Ferns and bush vegetation, 400
Fight amongst robbers, 265
Fighting rams, 308
Figures of (?) Fame, 119
Finn, Mr., 310
Firdūsi, 338
Fire temple, 364
Firewood as a crop, 364
weighing, 25
Fireworks, 377
Firman, Royal, 257
First cousins, 326
fruits, 168
professional, visit, 41
Fish in hot spring, 348
in kanāats, 128
poison, 129
poisoning, 386
Flap-jacks, 335
Flat, the, 405
Flirtations, the Prince’s, 280
Flowers, common, 172
near Caspian, 400
wild, 173
Foods of poor, 336
Forests near Caspian, 400
Forged antiquities, 76
Fortune-tellers, 120
Freehold, my cheap, 206
Frogs, 398
Frozen wine, 58
Fruit, fallen, 311
Fruits, 168
“Furder,” 126
Furniture, black-wood, 345
want of, 123
Fussa, 240, 243
fertility, 247
Governor of, 244
Futteh Ali Shah’s family, 59

G⸺, Colonel, 2
G⸺, Mr., 97
Gambling in Pera, 9
Game, 299
Games, 97
Gardening, 309
Garden-parties, 311
Gardens at Shiraz, 223
Gate of Royal Garden, 198
Gelim, 152
Georgian ladies, 17
Gersteiger Khan, the Baron, 370
Gez, 158, 383
Ghilān shoes, 399
Gholam, a bold, 178
Girls’ school, 165
Goggles, 54
Golden pipes, 112
Goldsmid, Sir F., 56, 157, 417
Goor Khur, 308
Gougas, 127
Governor of Fars, 135
Fussa, 244
Governor’s garden, 199
Grain, extracting, 174
stores, curious, 385
Grape feeding of horses, 103
sugar, 171
Grapes as horse feed, 171
varieties of, 171
Grateful Armenian, 93
Graves, Armenian, 162
Great square of Teheran, 52
Gregor, Saint, 160
Greyhounds, 305
“Grimes,” 344
Guebre-abad, 385
Guebre gardener, 369
Gulf Arabs, 106
Gulhaek, 369
road, 36
Gūlpigon, 127, 132
Gulshan caravanserai, 200
Gūmrūkji, anecdote of a, 237
Gun at sunset, 284
Gunge, a, 77
Guns, blowing from, 202
Gurken, 216
Gymnastics, 98

H⸺, Mr., 128

Habashi, 326
Hadji, 121
Hadjiabad, 354
Hadji Ali Akbar, 229
Baba, 3
Kawam, 272
Khalleel, 109
Mahomed, 381
Saduk Ispahani, 192
Hadji Mirza Kerim, 192
Hafiz, tomb of, 276
Hailstones, large, 391
Hair of women, 323
wearing the, 321
Hajeeb, 392
Hakim-bashi, 201
princes, the, 145
Hamadan, 57, 64
vines at, 311
wine, 57
Hamilton poles, 301
Handicrafts, 189
Hansard, Captain, 343
Harem, the, 39
Hassir, 197
Hats, 223, 320
Headgear, 321
Head-rolling dervish, 43
Health of the staff, 296
Henna, 334
High priest, anecdote of, 290
Highway robbers, 263
Hippocrates, 82
Hissam-es-Sultaneh, 204
Hockey, Sergeant, 127
Hoernle, Dr., 163
Home-life of families, 92
Honesty of Ispahanis, 192
Hornet, death from sting of, 250
Horse-breaking, 352
Horse clothing, 90
feed, 102
market, the, 201
Horses, breeds of, 104
grape feeding on, 103
height of, 100
on grass, 103
price of, 106
Hospitality, strange want of, 267
Hotel at Kasvin, 395
de Byzance, 212
Hot spring, 348
Houssein and Hassan, 279
Khari, 201
Kūli Khan, death of, 262
name of, 281
House-building, 126
House, I buy a, 206
snakes, 307
Huge tent, 280
Hughes, Mr., 127
Hunting party, 84

I am mobbed, 82
I am robbed, 263
Ibrahim, 383
Ice, cheapness of, 246
mode of making, 241
Ices, 240
I commence the cornet, 72
I decorate a house, 206
Idleness of Armenians, 359
I fall among brigands, 259
Illness, 207
of Zil-es-Sultan, 255
Imādieh, 118
Imād-u-Dowlet, 108
looted, 119
Imād-u-Dowlet’s bad son, 124
Imām-i-Juma, 153, 199
Imām Riza, 387
Imāmzādeh Hāshem, 400
Immorality of Armenians, 138
pigeon-flying, 94
Impregnable village, 262
Impromptu entertainment, 312
Indelicate dress of ladies, 40
Indian lottery, 340
Industry of Armenian women, 360
Infants, 325
Inlaid work, 332
Interest, rate of, 76
Interior of house of a grandee, 39
mosque, 97
Intricate carpentry, 39
Intrigues of Shiraz women, 276
Ironing, 333
Iron poles, 301
Irregular cavalry, 266
Irreligion common, 339
Irrigation, artificial, 127
Iskender, 378
Ispahan, 215
 arrival at, 135
Ispahan bridge, 135
cobs, 105
Ispahani, honesty of, 192
Ispahan priests, 197
start for, 127
Istikhara, 277
Istikhbal, 56, 109

J⸺, Colonel, V.C., 217

J⸺, Mr., 387
Jack and Jill, 83
Jade teapot, 201
Jaffir Kūli, 381
Jahn-i-ma Garden, 276
Japanese embassy, 377
Jars of sweets, broken, 258
Jeddah, 342
Jejim carpets, 152
Jesuits, church of, 143
Jewelled belts, 320
wand, 258
Jewellery, 323
Jewish sacrifice, 258
shrines, 75
Jews, 74, 146
at Erzeroum, 213
burial-ground, 293
 oppression of, 146
thrown into tank, 52
treatment of, 377
Jika, the, 322
Johannes, Mr., 144, 163
Jokes of robbers, 267
Journey home, 208, 381
through Turkey, 213
Juba, the, 318
Judicious bishop, 139
Julfa, 135, 137
ancient, 161
cathedral, 157
cemetery, 162
customs, 359
doorways, 142
emigration, 143
nunnery, 139
origin of, 161
priests, 363
quarters, 206
Justice, 146
Persian, 295

Kabobs, 89, 297

Kafsh, 321
Kah, 174
Kah-gil, 369
Kahtam, 332
Kakheite wine, 18
Kalāat, meeting the, 255
my, 258
of Kawam, 258
Kalam-dan, 288
Kalian, 15
Kalians, details as to, 29
Kalifa, Kuchek, 138
Kammer, 142
Kanāats, 127
Kangawar, fish in, 128
temple at, 107
Kanjar, 320
Karabagh, 219
horses, 105
Karageus, 6
Kara Sū, the river, 108
Kashan, 385
Kashish Mardyros, 141
Kasim, wedding of, 282
Kasvin, Syud at, 208
Kawam, 257
Kalāat of, 258
Kawamabad, 355
Kawam-u-Dowlet, 239
Kawam-ul-Molk, 270
Kazerūn, 349
Keesa, the, 334
Kemball, Sir A., 208