Super-Deformed Characters, Volume 1: Humans (How to Draw Manga, Volume 18)
Asami Ogasawara
Language: English
Pages: 132
ISBN: 2:00287939
Format: PDF / Kindle (mobi) / ePub
Big things really do come in small packages! It is no exaggeration to say that today one cannot discuss Japanese manga techniques without touching on figure stylization methods. This book thoroughly explores this topic, starting with the thought process and techniques used to draw the characters known in Japanese as "chibi." Most English-speaking fans call them "superdeformed," or "SD" for short-those oh-so-cute, smaller-than-life characters who are always stealing scenes in such anime favorites as Chobits, Dragonball, and SD Gundam.
Human Anatomy for Artists: The Elements of Form
Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice
Architects Draw: Freehand Fundamentals
Strokes of Genius 4 - The Best of Drawing: Exploring Line
denying it. The real point is that we just do not see humans with eyes that big or with stars in them, like we do in shoujo (girl) manga (wry laugh). While the characters discussed in this book are stylized, they do not cover all modes of manga found in Japan. Still, I would like to discuss ultra-stylized characters that do require heightened stylized techniques, also known as "superdeformed" or "chibi characters." Perhaps you do not have a complete grasp of what I mean when I bandy about the
outline heights must be drawn randomly. Otherwise, your skyline will look like a bunch of oscilloscope pulses, which will cause your scene to lose its sense of a living space and reality. Perhaps beginners might be better off looking at an actual photograph when drawing the undulations in the cityscape. Another special stylization effect is reverse perspective. This technique consists of making the bottom of the building smaller rather than the top, which would be normal practice. This gives the
either up or down, as if to suggest aracter is unable to meet another's gaze. s • ·11 create the desirf)d mood. Please also e section on eyebrows, where they are •.::o.. ..-.~ separately. ( Woefulness/Sadness ) Faces ...--~- .;· ; sically possible in the real world are often frequently found in stylized artwork. large, they extend beyond the facial outline, tears pouring out of eyes like a in lieu of drawing eyes, or shapes totally in disregard of musculature. As I ese are the results of
there is no need to take as much care when drawing as you •lith a regular sketch. However, glasses pose a serious issue. You need to take care to position the B': - that a character in glasses will not appear awkward. The ears are usually centered along the face's :ontours. Assorted Ears ( ) (Small (Normal) Ears) ( Large-lobed Ears ) Pointy Ears ) ( Big Ears Elfin Ears ) Are Here! (Limp (Thin) Hair) Not good - e the tendency, particularly with female ~....-..-:r-::rc , to hide the
Characters ........................... 92 r-deformed Character Gallery .......................... 102 In-Depth Look: The History of Super-deformed Characters ....................................... 16 In-Depth Look: Meditations on the Name "Moe" ...... 18 Short Lesson: Are the eyebrows more expressive than the mouth? ................................. 26 Short Lesson: Giving the Face 3-Dimensionality, Even with Minus the Nose ................. 30 In-Depth Look: What Do Those Lines and Dashes on a