The document is about drawing super-deformed characters, known as chibi characters, which are stylized figures with exaggerated proportions, typically featuring a head-to-body ratio of 1:2 to 1:4. It explains the versatility of these characters in various artistic situations, as well as techniques for character design and the history of stylization in manga. The content serves as a guide for artists to enhance their skills in creating distinctive and appealing stylized characters.

1. EASTERN REGIONAL LIBRARIES
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Also available in the HOWTO DRAW MANGA series
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4. I
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HOW T0 DRAW MANGA: Super-Deformed Characters Vol. 1
Humans
by Gen Sato
Copyright @ 2003 Gen Sato
Copyright @ 2003 Graphic-sha Publishing Co., Ltd.
This book was first designed and produced by Graphic-sha Publishing Co., Ltd.
in Japan in 2003. This English edition was published by Graphic-sha Publishing Co., Ltd.
in Japan in 2004.
Graphic-sha Publishing Co., Ltd.
1 -1 4-1 7 Kudan-kita, Chiyoda-ku, Tokyo 1 02-0073 Japan
Assistance with Robotic lllustrations: Kanta Hino (Nippon Engineering College)
Cover lllustration:
Book lllustrations:
original Book Design:
Main tiue Logo Design:
Planning Editor:
English Edition Layout:
Gen Sato
Gen Sato and Asami 0gasawara
Masako okubo
HideyukiAmemura
Kuniyoshi Masujima (Graphic-sha Publishing Co., Ltd.)
Shinichi lshioka
EnglishTranslation Management Linguafr6nca, lnc. (an3y-skmt@asahi-net.0rjp)
Foreign Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd,)
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
wi$out the prior written permission of the publisher
Disfihned by
.,@xne Co., Ltd.
2+1 02 ltaka-cho, Kawaguchi-shi,
Sdana &P{022, Japan
PtrE rFa +81 {0H8-259-3444
E+* scesol4aime.com
lllEtr rl.i@itE.cofir
furrofrE; A.S.d m04
Gft#amfi*il@l
n-n n h D EGIGI miE Co., tld.

5. o
of Contents
lilmambr 1
llultmt El"E "Super-deformed Gharacters"?
-' : : : Super-deformed Character" ...,...,................ 6
- -?,r= -,:es between Super-deformed Characters
:i-: ::;r stic Drawings ......................... I
- 6's*:c - g Characteristic Characters .....,....,.....,..... 1 0
Iilimmpte,r 2
Super-deformed Building Blocks:
-rue,Face and Body
;i-xnex'-def ormed Character Building Blocks 1
r -;l a fuce! ...............20
--' i.is Bring Life to the Character.........................21
,*:sias S:Ck 0ut ......,.,,,.... ..................27
-'; l: e. Moring Mouth. ..,..,.,..,......... 31
--* las Reflect the Artist's Pers0nality.................... 37
-ii ri_r 3S and Distinctive Si1h0uettes........................ 41
-,ir : i'iangle to Lay out the Face ,,.... 46
::,-: cf Caution in Drawing Super-deformed
:-":-:ers...... .............. 48
S,,Eer-deformed Character Building Blocks 2
uta -:ining Balanced Pr0p0rti0ns............................ 54
l*,"es of Representation ......,.............55
:-:,r,c rtroning Arms and Legs ................................... 60
:,- :e.deformed Character P0rtraya|......................... 62
C,tmpter 3
$uper-deformed Anything and Everything
-r,a'acter Design 0n-10ca1i0n ..........,..................,,,. 66
!'-:er-deformed Characters and Stylizing Clothes..... 74
i - :er-deformed Characters and Backgrounds.......... 80
--)epth Look Super-deformed Characters and
Hand Stylization ................................ 90
r:s I ng Super-deformed Characters.......,.,.....,........... 92
S, mr-deformed Character Gallery ..........................'l 02
Chapter 4
Super-deformed Character Odds and Ends
Let's Compare! From Realistic to Hyper-Stylized .... 1 14
Special Bonus-Mix and Match ........122
Afterword ..................127
ln-Depth Look and Short Lesson
ln-Depth Look The History of Super-deformed
Characters ................. 16
ln-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
ln-Depth Look: What Do Those Lines and Dashes
on a Character's Face Represent?.,... 36
ln-Depth Look: The lmportance of the Silhouette L.. 43
ln-Depth Look:The lmpoftance of the Silhouette 11.... 44
Short Lesson: Drawing Non-Japanese Characters..... 50
ln-Depth Look Changes ln Facial Layout
According to Age............................... 51
ln-Depth Look: Super-deformed Characters
at High and Low Angles ...................52
ln-Depth Look: Shading Super-deformed Characters.... 53
Shoft Lesson: Mismatching to Create lndividuality.... 58
ln-Depth Look Modifying the Headto-Body Ratio
to Poft ray M0vement..,...................... 64
ln-Depth Look: Super-deformed Robots ................... 86
ln-Depth Look: Super-deformed Characters and
Hand Stylization ...............,................ 90

6. Super-deformed characters are oodles of fun!
soffi
Hello there! What genre do you visuallze when you hear the phrase "stylized
characters"? Do you picture characters from gag manga (humorous mangQ? 0r
do you picture corporate promotional characters? Perhaps you picture characters
from parody manga, such as in games. The phrase conjures up any number of
categories in our minds.
However, a little statistic that may come as a surprise is that gg% of all manga
sold in Japan contains "stylized characters." Although not named as such, manga
characters are exaggerated expressions of the human form. Consequenfly, if a
non-Japanese were to declare that absolutely all of Japanese mangaleatures
stylized characters, there would be no denying it.
The real point is that we just do not see humans with eyes that big or with stars
in them,like we doin shoujo(grl) manga(wry laugh).
while the characters discussed in this book are stylized, they do not cover all
modes of mangafound in Japan. Still, I would like to discuss ultra-stylized
characters that do require heightened stylized techniques, also known as "super-
deformed" or "chibi characters."
Perhaps you do not have a complete grasp of what I mean when I bandy about
the phrase "super-deformed character." For simplicity's sake, in this book t use
"super-deformed character" to refer to compacted human characters stylized to
1:2 to 1:4 headto-body ratios.
Contrary to what your first glance might imply, super-deformed characters are
exceptionally versatile and lend themselves to various situations. consequenily,
their avenues of use are endless. We have all seen them in mangaand anime.
They also appear in commercials, as corporate mascots. We can use them in
everyday situations, such as decorating a letter with a super-deformed character
or portraying your family in a hyper-stylized way. Make an effort to learn how to
draw super-deformed characters, and discover new fun ways of using them.

7. Chapter 1
o ooo&o
What are " Super-deformed Characters " ?

8. This is a "Super-deformed Character"
#O+.;
Female Characters
'94 @.
l'l --/ lt

9. Male Characters
wide variety. Naturally, degrees and methods of
stylization &at allow for a successful visual
balarce are preferable. Hsrever, in the case of
some aftlets or when suggesting emotional
displays, fte intent of Ure drawing is occasionally
better conveyed by exaggerating disproportions.
,',1ell, now we are ready to discuss abbreviating the human form, something only done in manga design.
^ tacl, manga, itself was originally a world of "abbreviation." We find in manga renditions of the eyes,
-ands, and feet not found or simply not feasible on real-life human figures. I have never witnessed a
langa artist present a life-like rendition of the eyes (chuckle), Consequently, those of you who have copied
langa or produced your own works, as well as those who have read manga will find abbreviating easy to
-nderstand. lt is my goalto see you deepen your interest and enjoyment in character stylization and
rcorporate it into your work or everyday drawings.
ipixeding page,:*$1yi{ril]siFdlsllqry$B$r€|$tcedils page,
lyands and anns fot:male charac{ers come in a

10. D ifferences between Super-deformed
Characters and Realistic Drawings
oooiirere I will illustate (literally) the differences between a super-deformed and a realistically drawn
cfnracter. Please note that use of the word "realistically" does not necessarily mean a figure drawn in
heightened realism or in the style of realism manga.l just use it to mean your everyday, typical Dick and
Jane manga character. Naturally, the most blatant difference would seem to be that of height; however,
merely by drawing the character shofter and a little simpler will not create a super-deformed character.
I will now discuss handling the various body parts and figure proportions to demonstrate my point.
Super-deformed Character
Character
@.4'lt llr
r-/

11. To portray a character in motion, use a 4:1 head-to-body ratio I
Sefring aside discussion on stylizing characters for now, beginning aftists like yourself often encounter
ifficutties in achieving a satisfying pose when trying to draw a character in motion. So, what should you
ro iln such circumstances? A popular technique is to decrease the head-to-body ratio (i.e. increase the
rurnber of heads to body). This makes it easier for the body pafts to move at their joints, allowing you to
::'mte all sorts of poses. I discuss this topic in depth in another chapter. Please visit that chapter for more
nf'nrmation.
Audaciously stylizing the character in that super-deformed
way results in a well-proportioned super-deformed
character.
,6 @.'
t-,, f-1 tt'
*-V)l Jr ,,t'
c. e
'(,
,b
Good
Not good

12. Developi ng Characteristic Characters
*o*
We humans have many distinguishing features. lf you, the aftist, identify these features and exploit them
when drawing super-deformed and stylized characters, you will successfully create distinctive characters.
While having a model or reference figure in front of you ceftainly helps identify these distinguishing
features, picturing an imaginary person in your mind and then searching for these identifying features will
also make character design easier,
An artist's mental reproduction of a model comes out most strongly when finally put to paper or canvas, s0
you will create a more satisfying character if you stress your own impressions of the model's physical
appearance rather than looking for outside sources of information or seeking others' opinions. You are the
one who ultimately gives birth to this character, who is supposed to be imbued with appeal, Therefore, you
should be the one who knows this character best.
0f course, even with a model or reference
picture on hand, different features will strike
each artist in a unique way. Therefore, you,
as an individual artist should emphasize
those features that have the greatest impact
on you personally.
Ref.
"Cute"
"Cute" Nose
"Cute"
ot
L.

13. Assorted Eyes
rv
m

14. Body
;to*
Bu ilds
One would also expect to find many people who have distinctive builds, even though they may lack
fdimyncratic facial features. Stressing idiosyncrasies in their builds and adjusting the face to match
ffie body will enhance your character's distinctiveness.
- Llza
( ).4
OO
(--J
o
o
o
.4
ooaa
o
o
o

15. F.#€fry Builds
(r,
-z _
<-
A
I 131
V

16. Using Stylization to Bring out Character ldiosyncrasies I
-
/////
// t /// r
// | / /
sd',r,O rlr

17. /'rrr
ooA.- j

18. ln-Depeh Loolr
The History d:lS$p*Td$f0r arg6t€&t
or^ ^i^ira ^4 ^^-^^^* *^^-r^i -^ +- M^l.t^ limtla nai
^6^^r.lih^
+haaa limi+n aan ma.,!l Ia tha
The origins ofThe origins of mangaare regarded as traceahle timits, and exceeding those limits ean resutt in the
back to the chqi$:dgdlfrandscrolls (a Buddhlst,,tl:llit!i ,q!:l&tr.qi.:;&. q!itrty,.to.l,BgoslPg i-qstl$mlltllit
*,arrtiehi0s1$eilit,rlren$ircll$Q ffirlttlffigr*qllqii $:!!!atr]cqqqe, yqul,.,,,
*ririr} *lrr yfi!;g&i9,n19ttgt1t1trqasf"tro,1llll1ltl1ffiff1: , ii$f(& ffi1""""""'".'i::iii:"i':,.
as "Scrolls of Frolicking Birds and Animals").
while these,sdr$s:sl. w'bird$,,a.nd,,aniuals :rllll0ws(:l&&i&.* qr$i.!ga&a!!0.:Q!!&i ii.@d:'il
anthropomortihti,6(qn$,qr!iq!it,!g]lfq,,,!!ulrqu'&..6i'l0q&tffi&ffig|*i*(9 sil!talrl&u$..Q..Lg!{[.'
satirical work wha
mimicking,:hffidd: ai* or movins in a ntaririii:ilieeij&it6ia$ttiUmtit$ :t! i{l$fgt*,!ittyiewrru,,,,.
Many enj.o}ilkl$i$!i{Ili!i0$lwltqrs.6iti@:0 ilipl.:il{h,q,$Pi& :0,t1 :::::::,X:l}:',i.li:riii::i,r.:r,,'i,,::.i'ii
are also abH,fui,
we find s&{40i:i:i:,litlittiiiitlti::ii:ltti::iit,ef:,v.ryJv..r.::i:.ir:t..rrrr,,,,,,,,..iliil:,il:lllill:::l:::lill:lii:i
manga ,
wonderi16:it iiiiiitif :if :.aiii*Airiiiiitiillil,iidil :.::l ti,:r lila'1rii
{ tt a{,9 a }l.!,,1!$,t;,::;l(*,an7tr|lii;lIl}
present form.
manga in::ftsrrri:i
iti::ilii:.lliri::i:,:il.i:ii::ri/
::::t::i::rri:ii:$srimi.tsi&sld0iin:|lgtlii{igq{F,q:lr:i::ii:ti]l
may be distorted within ,/
!:,.'.a.r,liY
ltlllll/ Jt :ltt* [l;
wil.il IIUUr(riln, dilu UtE alluut utEdtHlg IItt, (rrtrrru Dliriill tu rriorutr ur rruw rrgurcD ,/ /
these set boundaries.
. / /Ma n sat : |ll: i:extemi0rjt0i$m:g$ mgn
these set boundaries. /r Annnrdinnlv ctrlizatinn Lc /iii1i;lil;ii.fscefd1i $!Il3&gl1e11; /i:i1"""""""""""""""".'
diti:iiti:ai,iaiii:ii
wondering "Wouldn't itilreaiif;*rting lik a technique tn"t n t-
-
/ /
trris courir:rhap&lrl$rlrci$,.$lrmi i l ii:':tir,.lit i $:i*t I / .
interesting sifuation," and using people to create I /
_i":,:::'^:::::::^^ I I
these situations
can be : :::il .,ti:t:.ll.:lt:,;irff1:l r,l,,.l.,l:tt;llllt:ti.l l I r'itrir:r(r:r.:l
rilLsrsgurrv srtusrrvrt, qrv ugilrv PwPrv w vrvqlu I I
these situations
canbe ---- / I Icredited with ,/
^^^^^i^i+^./ --1a /l I Lf
Yet as one might
.enderings have their

19. tilXlrilr|Ilfim n5 mmfton.
'ffilrE
",8'-
mOSt
Bfl$r,ffi-(EloffIl
'*f,MlIrST adfigtd'still
mrrarE Sernents 0f
,mmutlilfmrlnn Manga
fims 21q 3lgng
lllilfimln*r 3l'l just when
nfiE r. rai stylized
lr,liffiinEr-! rnarketed
ruu wsqrs and
mrrnia.:aj products
mMm :Cftl6lity?
ne -arese word
whrre''meaning
tm,,nl]=*:n'fifSt
tMT6 r= USe around
llllilmm ::rr,'e of be hit
umm€ '
"bhu senkan
rrll@:Tm' ,Space
ffi*slpYamato).
rysaf. drew copious amounts ofr'parody manga
mmrrc lhat time (wry laugh).,$oweler, s00n,:r, .:.:
flFn?rds. tris surge in parody came to a halt,
ilr.m -ad been in charge of mecha designs for
&'niEE: anime characters, which I had jugt drqwn ,,
Tr!ffirrreafurer, and these,,becalne the first,stylized r:r
;ffirers to be sold in product form.
T.-',mse oroducts were dubied,the "Q RobQ" (Q,,, :
frmc series, and I iontiibuted the designs of'
lm,,,,,,,,,,,,,r:o-s stylized characters to be transformed into ,
&!-Eai machine prizes sold by the same toy
.lmr-:acturer. These.charactersturned-$Umbail-
- rfl€-prizes include Q,,flobo Gog, and ,0 Ro,bo .,,
irar. as well as other ultra-stylized anime robot
ffiryal years afler'ihe 0l Robo:lseriei, anaheiioy
n:'au'facturer launclled a new SD pr{ect. At the
-.r-e most of my work was dedicated to the 0
*rfi3 series, s0lwas unable to participate in the
arcfiing of this SD; how..over,,! did Jater,ioin the
SD proiect, and cieateO a significant numbei ot
stylized designs connected t0 the "Gundam"
series. I was later employed as head of a different
project involving stylized characters under the
same toy manufacturel which enabled me to work
on stylized designs for products, product logos,
and other matters unrelated lo mangaor anime,
and I continue such work today.
It is owing to this legacy of stylization that the
previously disparaged parody and stylized artwolk
gained their deserved respect and now enjoy
recognition from many mangaaid afiiryle ,,,,,, ,,
aficionados.
Now, 27 years after I began my own stylized
artwork,l have been entrusted wiin the writing '
of this book.
@ 1995ASMK
TJ

20. In-Depth
affection as
worlds of
qualitatively
addition t0'

21. Chapter 2
coso#o
Super-deformed Building Blocks: The Face and Body
Cheak out
the mix-and-
matah lound
on page 122
at, the end of
this bookl

22. What a Facel
i,:O*
The face plays a very important part of character design. ln the case of a super-deformed character, the
face should be something that the viewer will find disarming and evokes protective instincts. To put it
simply, a super-deformed character is one that contains many elements that will elicit feelings of fondness
in the viewer. Accordingly, the way each individual facial feature is rendered becomes very impoftant.

23. **,:
Ei,es Bring Life to the Character I
.{illli i': :':ernely individualistic, varying from person
,: :q,'ii-'- -st as the eyes of Asians versus non-Asians
ilffi*ilr"
- . :: ieved that most individuals can be
ril il]'': - .-:d simply by viewing their eyes and facial
:r, "r :,: -:: s look at a number of different prototypes
ir i:a,,, -; the eyes,
@@d
, :pular Eye Expressions
oArtt
V
',t",4 I
_/'-'--*,
----*-""
-z%///
@a],
-4.-1
* Lc",

24. Remember: Ihere ls More to the Eye Than Pupil and White I
;ttttttt-"
p
Fold or No Eve Fold
Eye with
Underneath and to the Sides
lashes
@'.. -l '
-*-#
By gMng particular emphasis to the various eye components in this manner, you will be able to imbue your
dBfirter wih individuality. You'll also have lots of fun exploring the different moods projected by
rnodrfyrng how fiese different components are portrayed.
@

25. Imarrur ng Memorable Eyes
Let's see how the eyes introduced on the previous
page look on a face. While the irises have been
handled the same for all, note how each treatment
of the eye makes each face look like a wholly new
character.
By all means, play around with the bonus mix-and-
match found on page 122!
Eve Fold Emphasized
Wrinkles Emohasized
1
r1
I
.t
it
',1
J
'lt i

26. Make the Eyes Expressive
0nce you have acquired an understanding of
basic eye rendition, the next task you will need
to address is how many different expressions
you can suggest using the eyes. lt is important
that you analyze the eye's various components
and learn how to stylize these components to
embellish a given facial expression. Play around
with exaggerating the individual eye components
(e.9. the inner corner, the outer corner, the
eyelid, etc.)to see which expressions you create.
When using the eyes to suggest "laughter" or
"happiness," having the outer corner of the eyes
turn down will give them a hint of warmth. To
exaggerate the look of the outer corner turning
down, the inner corner must also turn down,
creating an arch. This look has become the
standard in character stylization. Differences in
the angle and size of this arch can produce
subtleties in expression, so the best that I can
suggest is for you to practice drawing yourself.
To suggest "anger," usually not only is the eye
drawn as "angry" but the eyebrows are as well,
owing to their relationship with the surrounding
eye muscles. However, the eyes themselves
actually change shape when they are pushed
downward by the eyebrow muscles, which
causes the upper arc of the eyelid to change.
When stylizing a character, the subtle change
in the upper eyelids is magnified. Simply put,
remember that "scary eyes" mean "anger."
To suggest "sadness" or "crying," as with anger,
the eyes actually change very little:the eyebrows
lose their tension, causing them to shift
downward and either come into contact with or
acproach the eyelids. While no change actually
iccurs in the eyes themselves, since this
:notion is tied to a psychological jolt, the irises
s^ould be imbued with a drained feel. Show the
=,:s directed either up or down, as if to suggest
:: :iaracter is unable to meet another's gaze.
-- s r,'lll create the desircd mood. Please also
'=-'.' '.i tle section on eyebrows, where they are
: >: - s"sec separately.
o/Zr fm .T
@'//l
t-.- r

27. dmrrmmrls rm physically possible in the realworld are often frequenfly found in stylized artwork.rffirtiruuurmm qres s0 large, fiey extend beyond the facial oufline, tears pouiing out of eyes tike a
rilffifir|iofii r-r''Ek r.rsed in lieu of drawing eyes, or shapes totally in disregard of musculature. As I
fllmilffimE0 Mher. these are the results of embellishing subtle movemenis in parts of the eyes or face
llmlflffi]tt ruUuesrtg an emotion.
lfllililflnruflfi tflM mday we live in an impassive age. However, I would ask that you pledse pay careful attention
lmrHrrlll6r rrs d he eye move and how when you draw emotional reactions.
*t--t--r"_____)
t,

28. Short Lesson
The eyebrows are highly expressive of o ,_-
individuality, regardless of whether the character
is male or female. You might notice that in the
case of super-deformed characters, the eyebrows
are even more expressive than the mouth.
Assorted
Q
@
z-
a(@-
-
o
o
?6G///zzz,
/-
@
a
@
/-=---
s'
------
/'--
At,
O
+concerned
6,-
More
6o@ P2
c
Are the eyebrows more expressive than the mouth?
*o*Beginning artists will need to understand that
eyebrows are not merely "lines."
During the course of my work, I often see
students' and young manga artists' work and
have noticed that as of late that eyebrows are
being less and less used to suggest emotion.
Now, I do realize that plucked eyebrows are all
the rage in Japan for both men and women, so
using simple lines to render the eyebrows might
be reasonable from a stylization standpoint.
However, the truth is that this lack of individuality
is detrimentallo mangaculture. Make a
distinction in your mind between pop culture
trends and individuality while you are still young
and learn about the differences.
Extreme Emotional Reactions
Friendly Friendlier
a/^
It
UOWiden the distance
between the eyebrows.
*> #'."6oo/.
I
The eyebrows overallare lowered and
drawn touching the eyes. Generate a look
o'terlsion on he brow.

29. "'r* ISES Stick 0ut
: o q":.,
,ry;-1h ng for Distinguishing Facial Features
"i' llm :'? ,r -; in a stylized manner often disregard noses. However, there are
Llut"r r,*,r,r e'lnning around with distinctive noses, and you, the artist have a
il, 'r -I : :. io exploit such traits or risk your carefully planned stylized
r'riiiiilr-1r*::.a : s ng f lavor. The nose is a superb feature for suggesting the
ti]iiiitr':1r,,-',:'- , :,ccupation (e.9. a police inspector in the style of 0samu Tezuka,
':"* :*': :r'ivate investigator, etc.), projecting a friendly impression, or
ulil|ll'::'-; : :istrustful air. Noses are wonderful for portraying a character.
*i*ehte Noses
..ir r'l lri -:
-,- : nOSeS pfOjeCt
L ', t:l: -:'ession.
,l
)- ,,,^
(a a
Detestable Nose
Large, angular noses seem eerie
and strike the viewer with fear.
!lorts Easily Portrayed through the Nose
The Talented
Boxer's Nose
A small nose suggests
this boxer is good ai
avoiding punches,
indicating this guy s
got skills.
A4O/C)n/H /
,C-)'"
AVw v,

30. Small Noses
€
[
*t-
)
Use small noses for women and girls to
give them a feminine look. Conversely,
large noses project a stronger,
masculine air.
(_
-
Female character noses are typically
smal! and charming.
Symbols Representing the Nose
Like the eyes, the nose is a highly individualistic facial feature. When drawing a face, the key is to have
one overplay the other. Drawing both equally expressive would cause a visual conflict. The two features
would vie for the viewer's attention, canceling each other out.
-€
D. ( r-^
-tr:
//t A /r
^a
Co
Nose Symbols

31. i ;rr?55inrg with the Nose
1,{llllr il$ *," -,tsi to€s not actually move, it does change color and emit
illllllliliilllrr'"lilll:i:'r: :,-,lr fiuids. Exaggerating these qualities will allow you to express
rrlrrlltilriritil,i
::r' :rample, add a little red on the upper part of the nose to suggest
lllllluliuu:rrriff[s;:;-.-t cr awkwardness or red to the tip of the nose to underscore
rlririilulnL I :r'-a?a1:' rs in a drunken state.
llt 1ti -trh,r,E itave been discussing the nose's outer contours; however, like
lll, r dtur :i:s the nose has other possibilities of poftrayal.
,,"''t[ 1 a :'ire's color. Noses tend to redden, depending on the situation:
luurur ilq =:: embarrassed, drunk, fall down and bump our noses, etc.
Iil
'irroiy'
.:-i need to distinguish between the different reasons for the nose
I lilii"r," "-,: ,,,nen stylizing this phenomenon, 0r your nose will appear awkward.
, *r*'*,-rr. +Jris
will also change when the nose is drawn exaggeratedly
rllrrrllrLh :" :.ra I Perhaps these points are better explained through pictures
iiillllll" rl :i:.- ,'lOfdS.
il ,lLL:i:r'r - for whatever medical reason, noses are often spotted with pimples
,]ti|lil: t-rr:,r : emishes. Perhaps it is because the nose pores, which are larger
liillrnll -:r: lisible than those on the other facial features, tend to secrete in
iilur:,LF ::-:lnts, inviting bacteria to enter. Whichever the case, blemishes can
l ,r,:1: r,ihen stylizing the nose to draw out the character's individuality.
Nrr" { :,i: ctions of runny noses have been disappearing trom manga of late,
ltmi,, i,? a standard way of suggesting childishness or childlikeness. Take care
lr '* { :,erdoing a runny nose could just make your character look like a
,, "
-rI
:r.,ggesting that a character is angry or ready for a fight, the nose is
::picted snorting. There is the tendency to give snofted air a smoke-like
i,. 4
it were a tailpipe emitting gas, which is why professional artists
i so will exaggerate the nostrils, showing the snort broadening out from
the Fi
l tt
lt
ll l$
rtrl,-
Drunkenness
:6^2
,UA
oo
to o-
D,h

32. Short Lesson
Giving the Face 3-Dimensionality,
Even with Minus the Nose
..'o#Artists often omit the nose when drawing stylized
characters, but this is not necessarily always the
case, since many noses have personality. While
characters without noses are perfectly
acceptable, please note that there is a large
difference between characters without noses
and characters who appear not to have noses.
Characters without noses become distinctive
personalities owing to their lack of noses.
Consequently, they should be drawn in profile
without a nose, so take extra care to ensure that
such a character clearly has no nose in profile.
ln such cases, you will still have to give that
character's face 3-dimensionality. When drawing
a head that is roundish all over, be conscious that
what you are drawing is not the same as an
actual human skull.
lf the nose is not visible from a front view,
then omit it from the profile as well.
lf you have given proper consideration toward making
your character 3-dimensional from all views, then you
should be able to rotate her.
fi
a
,@
//t (J
,A
@/tl
^
EL
@

33. *rhrrrp
Agile, Moving Mouth
300illllllr ;6 1p* m;a ifeafures, the mouth changes shape the most owing to the surrounding muscles. As you are
,il$illlttllllilllll 'rult8
]r;inaflS uSe wOrdS tO COnVey OUr wiSheS tO OtherS, and the mOUth engageS in mOVement
.rltttflnlnflitlmtflfllt]t{s!'lls occurs. Accordingly, the mouth takes on many forms and is a prime feature for suggesting
lllrrrmn mmmrirril 0r agreeability of a character.
mmouthS)
w@
ndlv Features
,l,noss-Sectional Vi ew
1 . Lips
2. Teeth
3. Tongue
4. Throat

34. Assorted Mouths
/0.'e
g
'Tr 4'
g
Lower Teeth + Tonque
Noi used much other than for special
circumstances
Decaved/Missinq Teeth +
Used with children and comical characters
Teeth
! sror-.ltar rtay of rendering he mouth used to
*'mfi'*fis:E -r:9 nhen smiling. etc.
Teeth
Not exclusive to monsters, these may also be
used to illustrate a character's personality.
Teeth
Used to add to a character's distinctiveness
M Tooth
t
L
e,e
E
€.' ,e
_:- _
(U,
,+ l:
€.,.e
(-7 5
Used to add to a comical character's personality

35. lfr,uryn*rs- r'ng Unique Mouths
ffi
m0
rrfO,)
?

36. Assorted Stylized Mouths
/A- _/__
1-*-) V
_/
<Q> q7
?m
Let's consider how to render the individual mouth components. When imagining these three: the lips, the
teeh, and the tongue, think about what would catch your attention about the mouth if the character you
are about to draw actually existed and you were to sit faceto{ace with her.
Do fie teeth catch your attention? 0r is it the tongue? The picture in your mind's eye will become critical
$,t,en you draw the character. ln pafiicular, the lips are a flexible feature, and consequently can take on a
1r-rrber of shapes. Naturally, physically impossible shapes are also acceptable in the case of stylized
ihiaracters. However, care should be taken to avoid overdoing reactions, which could result in destroying
I'e xtsce s or figure's proportional balance.
:ae :etli airso ofier a multitude of possibilities. Artists have the tendency to go into autopilot when creating
ilrtimc CItmracters to draw a single line underneath the upper lip and call it quits. However, teeth are not
rlrffi EEtF- frb have incisors, canines, molars, upper teeth, lower teeth, etc.
/^
6,e

37. [ullinrfi [ombinations to Boost Expressions
Standard Smile
* e ride mouth means plenty of expression!
Now looks
happy
-
Now looks
persuasive
P#
0O)
,@
@O
ct
-.-.,/+Z=gv
,LA'
*-hvv
,L'
fr----r,(G)

38. In-DeFth
What Do
childho0dl
.l&ia!l
@
v
oott t -l
,ll
Lineo
(daoheo) on
a character'g
face change
dependinq on
Nhe aqe.

39. Tne Ears Reflect the Artist's Personality
;ooilfltfltilrn "mmm
tr assume fiat the ear is the part most difficult to distinguish the
:lltuutttr'iliilrtlnmr"T neimiduality and is something to be hidden behind the hair. However,
ltfiruflfll lliilrts rd'H.s who see an ear and think, "Look! That's definitely an (Artist X) ear.',
litll$tilutll lilfirnmr,r" r s certainly true that the ear is not the idea body part for illustrating a
,:flrrrflllililmM's :ersonality or behavior, but it is that which reflects the idiosyncrasies
illtltiffit161 4q1s .fie best.
ilmrmus Ears
When you start out,
use the ears of
an artist you like
as reference.
lltrtiil* ""sspect to stylized characters' ears, there is no need to take as much care when drawing as you
Itttu iffi with a regular sketch. However, glasses pose a serious issue. You need to take care to position the
'rmuill':
m fiat a character in glasses will not appear awkward. The ears are usually centered along the face,s
rmr*'iontours.
D

40. Assorted Ears
ry/lt
,c
.llt 7
trllr
@
ttt 7
:e
cTiriffi)

41. lffm Eans Are Here!
Li
Not good
,ritrf,liufrs 'ave fie tendency, particularly with female
nfltlruf,iffimrs. to hide the ears under the hair. Make
irn*l ffii to allow the ears' presence to be evident,
rrnrurum,,r r ffiey will not be visible.
-Hfrding Elfin Ears
*rE
ears can be hidden
mnlnd the hair, which
alows a character
r conceal physical
:sdities from others.
1ls is a fantastic
mchnique both
ramatically and in
$Dry building.
Good
e@
{0@

42. Ear Expressions
The ears are not moving body parts. As a result,
artists usually reserve elements of movement with
the ears to comical situations. However, the ears'
sizes may be modified to suggest that an individual
is using them.
Radar Ear
It,,
Dut, it looke
)uof,like hio
ear really did
qet, biq.
tltt
I
On elderly characters, large-lobed ears create a gentle, kindly Iook
llllil["::i'JfH#xl,:'- -xb -MI book illustrations, etc. with A _-A /__, :-i targe earlobes. For some lL- ' a- St lL-
t t
,'.i'Ji$:HlH:x';l?::,.ffi rfc-{'e p resent elderly characters.
]-. s could very welt be an
iffinole of stylization using
;ea-r e s preconceptions to
:er:ate a stereotypical look.

43. ri|tlumurstyles and Distinctive Si Ihouettes
3(tr0
tgittilflulltltrn mrmmfil
*rrodrfy our hair to suit our personal preferences by
umrnrmm, i[ Wrnq rt up. or dyeing it. Thus, the hair is a great feature for
ilffiiriililililllllllMliliimriq ; clnaracter.
lmr ,iur it[mmr* ffi ?ne hairdos of the lead characters in Ge ge ge no Kitaro,
lllllitiilimtmtrflflrM. m afld ty to devise an original hairstyle of your own.
Imorted Hai
I

44. Distinguishing Characters' Silhouettes Using Hairstyles
When designing the hair of a stylized character, what you should ask yourself is not how you want to tie up
fie hair but rather what sort of shape (of the outer contours) you want to result. Don't worry about how to
tie back fte hair realistically to create a certain shape. Remember, the character could always wear a
hairpiece or extensions.
((t1) ))
Characters cannot be made distinguishable using cololi grey value, 0r screen tone
Modifying the color of a
character's clothing or hair
becomes meaningles in dail<
settings or under special
lighting. Consequently, avoid
worrying about color or grey
value if you want to
emphasize individuality in
your character design (fie
same applies to screen tone).

45. h,-Depth Loolr
**e
lrnportance of thg
,tlillliulrlr , +. , ;=i pack to our topic...flow w0':,, - ''r.,:
lrtllt-T'r* :
j :id who is approaching..from.faf,1.,..;1,;1,,
{f{lrr1r' ; : * .':s allow uS to identi,fy':him ofiher?,.',,..,,
rr11'r-
* -:
-: -ave good eyesight,andro,thgisl,b,ad,.,:'
,LrLL ll''r -., :all out. Stilt, moStd,'UgUse"':':,1:":",::;, ,,'
llllliil,
* :- : - I the silhouette to-identff-y,gur,,fri9nd,;,;',.
ittt'
,ilIlilr,i,,,, i :,:-. ai Fig. A. lf youlw9re,,as'k!d,,tsidentify,,:.,
r, r;r,.,i*, - - a' Iharacter arnongst$e,!.rlhouettq.9r, '':rr:,
*,,,,;, ,,: - I ysu tinO yoUiAig4tg661yfi,''.''.._ .:, .:::::. ::. . ::..: a
llllltir: :,:. at the 9r0up,j'1
p'g'g:''p-ortr-aBs:this:90€s
,,q,,r*
: .t :,:;ing, but chanCesta&:&ti$0fn-e-itlme,yolt
{u!ti ",- ',- :u draw acharacter:is,Shadow.o!:,back',
-=
)',,t1

46. andf emaleilchAtat,&rs?tt0.li!-n0es.are:&at'tfrey,: Cltalaeieilq,,lA,rnais,thale
probably would not convince
sifloilailsilh0Uettet.br$i,When:ttreii,silhorr
ffi

47. Sports-centered story
{45&

48. Use a Triangle to Lay out the Face
so*Face layouts play with our instincts depending on the particular layout pattern used. For example, the size
or position of the eyes could evoke parental or protective feelings in the viewer.
Well fien, what other etfects do we artists have at our disposal? Let's take a look at a few.
I fiink you'll gain some idea looking at the figures below. While there are differences in the eyes' sizes,
more significant differences can be found in the triangle determining the spacing between the eyes and
fie angle and distance from the eyes to the nose and then to the mouth. ln a glance, you can see how
whether an equilateral triangle or an isosceles was used affects the character's individuality or mood
projected. Play around with ditferent triangles.
Whether a face has wide spacing between the eyes, a nose positioned high or low, large or small facial
features all affect how that person is perceived. However, I feel I should warn that this does not necessarily
mean that the individual's personality will match this perception. Assuming that the face perfectly matches
ffie impression projected or personality of its wearer is prejudice. My mug is not so perfect either and
could probably scare someone into thinking l'm a felon (chuckle). At the most, what we are discussing on
fiese pages is the image projected as a manga character. I want all the readers to understand this as we
continue our discussion.
Faces Mature Faces
ffitl,
..,
t/
ery--"/
r' )
frr'--tf'.n
./
Y/

49. I r::^ess ls Not Exclusive to Big Eyes
'rlltililurr,*
rE i -Fh floating around that
mlllrrrLlr,,,lrrrnr re eyes large willautomatically
Irrrrrrirllllrruii ; :raracter "cute," but is that
ililtiiiit:iiltiflriffi-'x fie case? There are plenty of
rli/lrrrlrt;lrr r :is world with small eyes who
tflrllr, t*.:E adorable. This would indicate
trrrniliiit :* same would apply to drawing
luiiilflr r,':ed characters. Hence, mastering
mrr,, ltg{:r means that you should be able
rrllr lltsri:, any type of character you desire,
rq11;11;611'flr*.ss of what popular beliefs might
,rrrlfir
titiir icE*ut character stylization.
rirr,ii, -E HfiB token, whether eyes give a
;frliliff.?: a sweet face or not does not
lllflrry-c cn fteir size, but on their position
rrr p,rL-- Let's take a look at some
]iilllll"xrs.
Small
- emper layout makes for a delightful face
5ye Position
i"awing the eyes around the center rather than
-aoer half ol the head's outline creates a more
adorable" look.
ftuare vs. Round
Bounder, softer heads are more "adorable" than
squarish heads.
Circle vs. Ellipse
A perfectly round rather than oval head is cuter.
OO
/lt -J ll'
B. a
.A n
tlr.-rr'
ao._/
- ^
oo--l
.A .^,
oor-l
.^
^
aar.../'

50. Points of Caution in Drawing Super-deformed Characters
/7
A
ttt
Not everything goes when drawing a stylized
character. Characters must be composed according
to certain rules and must be visually
comprehensible.
Naturally, this excludes those cases where you
intentionally raise the eye level or wreck the face's
layout (only to be used in comical situations or for
Picasso-style scrambled faces).
0ccasionally, there are artists attempting to draw
their characters in perspective in order to improve
their look. However, adding perspective to a
character whose head is not that large in the first
place requires exceptional drawing skill and in truth,
is not even necessary. Avoid concerning yourself
solely with the character's appearance and adding
haphazard perspective.
:ql t
t7/

51. :mtl11lmmlltntrrng
ffie Degree of Stylization
Character with Mixed
Degrees of Stylization
* i$e symbolized noses on super-deformed characters
Realistic Face For super-deformed characters, noses should
be stylized by using highly abstracted, symbolic
shapes. lnept use of a realistic nose will destroy
the overall stylization of your lovingly designed
super-deformed character.
Maintain a consistently
stylized look for your super-
deformed character by
omitting or using a highly
abstracted shape for the nose.
,p t,t

52. Short Lesson
Drawing Non-Japanese Characters
':offi
That one can usually distinguish the difference between
a Japanese and a non-Japanese individual indicates it is
possible to stylize characters' ethnicities. Use of special
traits allows artists to suggest a nationality or ethnicity.
While I only describe a few samples here, you will surely
enjoy discovering new traits of various nationalities
yourself, so I encourage you to play around.
One technique I use to distinguish between characters
of Russian versus northern European extraction is to
give the Russian character a hint of Mongolian.
Ultimately, this decision was not based on logic but just
to create a convincing air.
I give characters who are African or of African descent
a cheefful disposition and make their eyes and lips
prominent. 0ther characters may also be given
hairstyles or different looks that verge from that
traditionally "Japanese." However, please take care to
avoid drawing a character overly dark or in such a way
as to project a negative impression. Such renditions
cou ld potential ly become racially discriminatory.
The non-Japanese characters appearing on this page
are first and foremost those I personally felt were
representative of their ethnicities, but please do not
misunderstand my motives. I am not insisting that
persons of these ethnicities necessarily look like what
is pictured.
Equilateral triangle
S=v)
lsosceles triangle
@

53. iM,rw&
i$ tortltBr{orehead, mouth, and eyes
character to convert him or her into
teehniques to suggesting age.
to Middle-SchoolPreschool Aoe
'een
to Mid-
@!_ rGL
(. -
EIderl
(,t*J

54. Ilt-
Super-de.d d.l
Needless to

55. I-Dcpth Loolr
S,4 i n g S u pe.,rrd6&fh ed, C ha ra e&,K1t.}t,r,,,,,,.,,
oolffitgur are maintaining a sense of 3-dimensionality presence as a solid. Consequently, you need 1
l;i::ltixq$,encsraqiia,sirlid;:ei
im,$ullry tuwing ano,gllg|g$lllqglgrpi {&ti:l{ prg&tgittiir: ne$$&Sx$l&$i?$91,$iili:i:iiliiiril'i;rr''
0@ illip ptay. Takg11118tallineilhi$i&gq::iipf:niQanl:iiri:l:i:.i:itili:r.lirilil.i:.i:.t:liii::::iiiri :::x::.:l::.,,':.
ffi fi,uftimal, reali rr8il9ipt$ttasdwlh!&i*tp ::it::il:i:i:::iiii::iili:::riuif:t:::ii:i::ii:,:iliitl:i::trrrrl.':
ffi M give tte su0$ft*ffm$.gigi&iei,*t:tii:t,,t,, . .. ,. ... ., :::r,;rrlrrii:ir::r:r::,rr'
:ralt::lair:a::::::a::r'irrl
)A
CI
e
Make the lit areas light.
. 0ther areas should be
made dark.
Back lit
,rN
I

56. Maintaining Balanced Proportions
sooNow hat you have learnt a little about the facial layout, let's take a look at figure proportions. Naturally,
proportions bear a relationship with facial layout, so the proportions offered here are not absolute. Looking
at fie 1:3, head-to-body figures and then again at the realistically drawn figures on this page, you will
likely note the arms and legs are proportioned fairly similarly to those of the realistic figures.
Thus, if you are able to draw a realistic figure, then,
given that you comprehend those proportions, you
should be able to apply these to achieve a basic
proportional balance while stylizing the details.
However, you will need first to consider what sort of
head will match the facial layout you already
designed. Failing to do so will result in a character
" with ugly proportions.
lf you are going to create your own proportions,
first design the facial layout. Then, devise a figure
. that suits the character's face.
1:3 Head- Here, the entire figure is 3 heads
in height. Matching the shoulders'
width to that of the face results in
a satisfactorily balanced figure.
Here, the figure is 2 heads
tall. The shoulder width
should be narrower than
that of the face. The head
and the figure should have
approximately the same
area to achieve pleasing
proportions overall.
e
Ref.
1:2

57. lllffiil1, tsuilds
Build A
When drawing a portly character, select
clothing that will allow you to add highlights.
Use the highlights to suggest creases
between rolls of fat and flesh.
0verweiqht Build B
This is a common build in gag (comedy) manga
but has been losing popularity in recent years.
Dressing him in clothes that are too small and
pants that cannot be closed at the waist creates
an illusion of corpulence and makes a lovable
character.
ioht Build C
Here, the plumpness is to the point where flesh
sags. The image can be somewhat disparaging,
but it is also a way of representing obesity that
he viewer quite often finds easy to understand.
Female Characters
ln the case of an adult female,
emphasizing roundness in the breasts,
turning them slightly upward generates
a convincing look. Builds A through C
above may be used for girls.
o
(rg
s
Or
o

58. Styles of Representation
Thin Builds
Gaunt Build A
This is an extremely popular
method of representation. The ribs
are emphasized to generate a
gaunt look.
Garrnt Build C
.let* i =a,sbc
emaciated
@efr-d*r:e s farhfully reproduced
m mlriro- -:m ln manga, such
tr oB{ l-r t,t,,la][Y used in moderate
mnr r _:uSEesrlan ailing character.
hre ]tr: 1li'iE overdo this look,
m f, nr:r:rr: -age will result.
Gaunt Build B
Here, the ribs do not show, but the
slack fit of the pants or other
clothing suggests a skinny build.
Likewise, this is a favorite means of
representation in manga, depending
on the genre.
Characters
ln the case of an adult female,
emphasizing the curving at the
waist underscores femininity.
The pelvis should also be
widened. Builds A through C
above may be used for girls.
4i

59. flllf,lllltu,Hr":,, af BU i I dS
Irr llltrllur i -uscular build, first you will need to learn how the muscles connect. Still, avoid an overly
tiuintilllllflr',r,;
-:fresentation, or your characters will look freakish. Give moderate emphasis to the chest
,ulltrllr :rrrr-r3ar muscles to create a general brawny impression.
-;
o
: ^,-/
o
The arms are thick and the
hands, small. The shoulders are
broad and the waist, narrow.
Use strong lines from top to
bottom.
Girl
Emphasize the chest and the
tapering of the waist to achieve
the desired look.
M
_(-
LI
Remember to Think
-scles are not flat but 3-
: mensional, so you need
: think.in volumes when
".rawing
them. lt is
"rnavoidable: muscles
nnove and have shadows,
rrtality, and luster.
Study bodybuilders and
athletes to learn about
muscle volume.
in 3 Dimensions

60. Short Lesson
Mismatching to Create lndividuality
O i*t
I touched on this earlier as a cautionary point, but in
actuality disrupting the figure's proportional balance or
assembling very different body parts may make for an
i nteresting character.
Needless to say, this is not always the case, and if the
degree, or reason for stylization is unclear, then the
resulting character will just appear awkward rather than
unique.
Skillfully contrived mismatching is occasionally used in
character design. For example, an elderly character with
aleft eyes or an effeminate male instructor may strike
you as inconsistent, but this incongruence makes for a
fasci nating, individualistic character.
Mismatch of a child
with an adult's face
Mismatch of a suited
businessman with
a boyish face
ltt A tll
---7-
Example of mismatching
where some sod of
ingenuity is needed- like
dressing the character in
-osi
(r

61. nt with
'2n-
J6;
r,tirthout meaning
;' practice, mismatches
iomposed using odd
rropottions could
"iave unfortunate results.
zL =---
_.-J!)

62. Proportioning Arms and Legs
& o,,:
How long should the arms and legs be made to achieve a well-balanced look? The answer is so that they
match the body. ln truth, even though children's limbs come in varying lengths, proportionally they do not
differ that much from adults. lgnoring the head size and calculating the limb length based on the body's
height should allow you to create a well-balanced super-deformed character.
Arms and legs look well
proportioned so long as
they suit the body's frame.
Aim for a nalural
pofbrayal, uoinq
well-balanced
armo and lege.
@
'9,

63. lrsr"rpting Balance for Effective Comedic Portrayal
,iil;lllmrrrmlie'1 Cisrupting the balance may have
iltflfliJrluLs eftmts in the case of comedic portrayals.
,tiilflfl": [r:F a,t a few examples.
Use
Lens
Undersized Head
@
W,6
o{/a
g

64. Super-deformed Character Portrayal
This topic was covered earlier in
this book, so let's consider this
review. Characters with headto-
body ratios of 1:3 or 1:2 are
perfectly acceptable, but when the
character is poftrayed in engaging
in an act, the joints will have to be
bent. Naturally, there are actions
that do not require bending.
However for those occasions
where straight joints appear
awkward, artists use a crude
technique whereby the number of
heads-to-body-length is increased.
As a cautionary note, when altering
the head-to-body ratio, keep the
change to a minimum, and avoid
extreme changes in the degree of
stylization.
Bend Joints, Modifvinq the Head-to-Bodv Ratio as Needed
Skillfully adjust the headto-
body ratio according to the
situation, such as
exemplified in A and B.
Manga is a created product,
and super-deformed
characters do whatever
their creators want (grin).
0
o ,,

65. *rs:-Jrted Super-deformed Character Actions
-J
6tr'
-r/
My leet have
qone numb.,.
L,orr,

66. '.li1ii'x'*tli.ltl::i:.]lii:t .::i:,,:il.,:titi:ii.:],i:]t'lti'.::ri.l,itllliilli:.,li:i:itl
ln-Depth LoolrIII-trE;rlr1:l,!i-U9,Err:,..;lrl:li:::i;i1illtii;:r;it:iriiiitlii:;1;ti:r:i:tt,:r,:1;,t,l,
M o d i fy i nsr1; 61;ifi r$ffi 6ffi tA*o rtray,, M ffi 6n t
,
.i.
; a contiiiiqatlq0.o{ilmpteti6ii$:disk$disi;:.;irlit.Aq€p(F8! :$i{,g0es.l!$i:Og1lliigragii0!$gtg(ll,ylThis is a co*inusiial1irffiihe$reii6_r$tdi$ itrr.,.',,,,los efrpected'Il
lYhen modifyiI$:ttt0tpmporthns from the originql;liti.:i::rlilgl6ttdiii:g:tt!
naturallv cIrcliht 0lilirbb taken with stvlization c&;i:r::ri{,f:r:1:i3;3t:Xhe;ri
9(!IIl
lYhen modif,yiI$:tl10lptoeiti0n6:mm:tltg0riguql;li::.:i:: rli!
gli :nP**01 .!i:iagogibulaM]]liasiii
natu ral ly crircitrf KUld:tSC'tak$ti:With,:$ffliAat00l€eii:t:l::i0f :X.
(as
characteru iljiistillBr
iii:re;:i:liii:1i3:gt3[e,rmtir::9gg!:rt$:!ate:&rbe exacr n
:tit irii::i:ii:ia:ii:ls:i{!lp tihatttqu: gglliii$ily0lii:,!i$ual: :sBrrserrr(as mentiorlddltltatleffiikt{irAbeith0l:nlo$ifittdrrtlirltriti:tiii:i::is:i{!lp rihiit.!0u:gslli,ii$ily0tii:,!isual,,$ense,,.
exemplified in ttre flgures below. Consequenfi
you, the artist, need to practice and master not
one de$iri,{
A&EIillegQi:EQ:p. fA.gI|&E::al}C&A&!QIIi llqqltllrl'i.lr:ilriiir:i :l
ee'ry$S. 9!ltieiit:la!al!1'!:l:t.a:i.i'iiitiiii:l:iiti:,itr.iiliitt.iiiii..:::::i:i::i::::i:,ii:iiiili.ii:..:i.i,i,'ii.i:iii:iii..,
, but many.
re
dl,l@

67. C"Xhapter 3
offio*o

68. Character Design 0n-Location
ffioq3
I would like to discuss here stylized characters I designed some time ago. A game manufacturer had
contracted me to create a character. The figures that you find on these two pages are all this character
(chuckle). First of all, in order to create a presentation to determine how the stylized character should look,
the artist has to play around with various looks for the same lead character. There is the young lad type,
the hero type, the dunderhead type, and many more. Then all of the prototype characters created are pared
down, and only one is selected as the lead.
ln this case, the boy with the staff on the following page was the one selected. Next, I thought about how
this stylized character would look in a sub-screen in a more realistic rendition and developed the more
realistic version based on the stylized original.
lf the artist creates a realistic character from a stylized one, an entirely different set of techniques is used
than those described herein.
ln such cases, I recommend think about what features to
abbreviate and how to create a super-deformed character
while you imagine how the super-deformed character
would look if he or she had a regular manga character
headto-body ratio. This will facilitate the reverse process.
Draft 1
Draft 2

69. " r ,/1:7t
', ,' 24/7
-':
-z
t-
-lt
HFl:-__-)L/1
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-=-.'$-- -
'
l
(
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./t
lozl
-/

70. ln the case of this heroine, I selected the girl holding
the staff to be the super-deformed character for the
realistic version, but the character actually used ended
up being the girl in the shorts on the following page.
Thus, there are various paths that can be taken before
the final character is determined (wry laugh).
Realistic Version
74 ,;,
i

71. Draft 1
Dratt 2
%
L
'deformed Character

72. Realistic
Draft 1
7,2:
-'7b
'G',l
.r
Here, I have included the nemesis of
the hero and heroine previously
This is a favorite character
of mine, and I have used her as a
heroine in one of my mangaworks,
" Binpatsu lchiban," and in crowd
scenes (panels jam-packed with
characters) in which I have
participated. When I look at her now, I
realize she looked pretty fetching with
long hair in her earlier drafts too
(chuckle).

73. Character
Charactei

74. nrs b the hero's young male
Sdekidc At fte planning stage,
lrc was to be a bandit, so ltried
b rehin a bit of that flavor in
fiis image.
It is tenific to give characters
idiosyncratic skills like this.
However, the hero or heroine could
hen seem bland in comparison.
The creator certainly does face a
number of difficult issues.
Draft 1
Realistic Version
a
'deformed Charactef

75. n
9

76. Super-deformed Characters and Stylizing Clothes
ffio#Up to now, we have been focusing on super-deformed character faces and figures. However, it has
probably occurred to you that there is an accessory that characters absolutely need-clothing. 0bviously,
since super-deformed characters are wearing this clothing, it should not be realistically drawn. For that
reason, the clothing must be stylized to match the super-deformed character. Use similar means as you do
for the face and figure to draw out distinguishing features in the clothing. A slight ditference in pen stroke
could affect the flavor of the article. The mood projected by the wearer affects the clothing article as well.
Likewise, sensibilities of the artist could make the character look tacky or neat and tidy. (l guess this is all
moot for naked characters).
Clean and Fresh
and
0a
G,,9

77. I
Long Shot
Jlothing is used less substantially than the face as a means of distinguishing a character's individuality.
-rs a result, clothing stylization can be pushed to the limits in long shots and still be recognizable.
:lease refer to the belt example above.
Somewhat of an exception to this rule would be clothing where we do not see the character's face,
such as spacesuits or firefighter uniforms. ln these cases, the distinguishing features themselves project
fie character's personality. Gonsequently, pushing stylization to the limits, as mentioned earlier must be held
n check, while the clothing is executed so as to project individuality.
/nl,
/
LGlose-up
(r

78. Points of Caution Drawing Kimonoin
Traditional Japanese clothing requires particular
attention when drawing. Recently, young Japanese
have fewer oppoftunities to wear kimono, and
some have never even worn traditional Japanese
dress. 0f course, personal interests may be at play
here, which is perfectly fine. However, if you, as
the aftist, ever find yourself having to draw
Rimono, you will be in need of accurate
knowledge. 0n these next pages I discuss
common mistakes in drawing kimono.
The most important factor concerning kimonois
"construction." To explain this briefly, s0 even
someone not interested in detailed kimonolacls
will understand, an undergarment structured
identically lo a Rimono is worn underneath the
kimono proper. Conceive of this as a kimonobeing
worn over a kimono.The artist needs to be aware
of this fact and include overlapping collars when
drawing kimono.
It sure io Nouqh
drawinq kimono, huh?

79. Io lla r
{iillliiillr r':,-see3figuresof kimonocollars.Thetopfigureisthemostrealisticrepresentation.Amoderate
ifl 1" :rr t,i cf that resulted in the next figure. At this stage, the Inner collar is still visible, which is the
:irir""ilr ':tresentation. There may be rare occasions when the outer collar should perfectly overlap and
lll ),: *1": :l'e inner collar. Since this only results when two outer kimono are worn, normally hiding the inner
;l) i,: : -,cthing more than a gross error.
1"r {
r-rB underneath is a more extreme stylization. Because the under kimono is typically white, the line
lri'1 r-q lrhere one half folds under the other may be omitted in consideration of lighting. However,
'*{ :;8"-e line for the outer kimono should be retained.
-' i'i?r more stylized collar would be that worn on the girl. Both the fold line of the inner and outer collars
*
r' :e omitted, as seen on the girl. However, leaving a nominal fold line of just a few millimeters will
- ,*"r; me kimono infinitely more visually comprehensible.
Realistic Rendition
Moderate Stvlization
Some of you may be interested in how creases on kimono
should be handled. However, lhe kimono's construction makes
r a fabric with very complex ways of moving. Consequently, if
iou try to position creases accurately, before you know it, you
could wind up with a realistic looking drawing. Unless it is
absolutely necessary, avoid adding creases, ln fact, I
recommend that you render the fabric's texture as an object
with volume without using creases.
Extreme

80. Stylizing Clothing
P ctured on these pages is a variety of clothing. Please note that while attire is impoftant, it needs to retain
some relationship with the character, and overall visual balance must be maintained. lf not, then your
carefully designed clothing will be for naught. Refer to cautionary points and discussion of mismatching
lvhen designing your characters' exciting outfits.
ily Restauranf
Waitress Uniform
Dress
(@' @
/ ,loAr
##,{( ).,---&,1/

81. School
Jd6tt
r/-
p wtt I
o
o
o
p
=l)Gir!'s School Uniform
s

82. Super-deformed Characters and Backgrounds
#oeAll righty then, we discussed clothing, and we discussed the face and the figure, so you may think that
this book on human figures should be coming to a close. However, truth be told, we still have more
ground to cover. Your lovingly designed characters still need a space in which to dwell.
So, let's take these next few pages to discuss backgrounds.
)uVer- def ormed characlere
need euper-deformed
backqroundo!

83. 0ommercial Buildin
re Apartment House
While you do not need to draw the fine
details, the number of roughly drawn details
should match the original. Perspective may
also be disregarded to a certain extent.
Buildings inevitably appear somewhere in a background, and like
people, buildings always have distinguishing features. Let's look at
emphasizing these features.
Often, simply adding some form of signage will indicate that a typical
building is for commercial use. lncluding hanging ad posters or ad
balloons on a multilevet building creates the illusion of a department
store or supermarket. Prominently place a clock on a symmetrical
building and scatter shrubbery here and there to create a school. Add
balconies to exterior windows, outdoor mechanical units and a water
tank to the roof to create an apartment building. lf you have
successfully identified the distinguishing features of a wood-
structure apaftment house, you should be able to use them even
when modifying the degree of stylization.
Store
rT--1-=T-1
----r-T-lil]-n
rrrn

84. rn,ffi0rn
A flat roof, the number of shrubs,
spaciousness ofthe yard, and curtains in
the windows help suggest an affluent
house. Modifying the roof's shape, the
house's wiffi, and the placement of trees
in the yard results in an average home.
with a Yard
Stylizing Cityscapes
While I did write "cityscape," distant views of buildings rendered as skylines perhaps appear better
as super-deformed character backdrops. Please note, however, that building outline heights must be
drawn randomly. 0therwise, your skyline will look like a bunch of oscilloscope pulses, which will
cause your scene to lose iB 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 buildings
an eccentric flavor. Use this technique strategically, however. Overuse could cause the look to lose its
idiosyncratic nature.

85. .Lssorted Backgrounds and Props i
For coffee shops and similar venues, include
the bare minimum of props necessary. I feel
that sketching the props freehand adds a
nice flavor to the afiwork.
Drawing CD-R0M drives on computers
makes them look more convincing.
Cotfee
Could be a Mac
a Self-built
PCa

86. mafirm can aho be exaggerated according to the situation or intended use. However, take care.
Wme fmw the sun touches a mountain, etc. helps express volume and time, adding too much
hffitng and pen strokes could muddle the direction of light, causing your artwork to appear flat.
The prefened method for suggesting wind is to show a character's hair or clothing fluttering.
tlowever, in those cases where this is not an option, simple lines may also be used.
Trees and
and Gusts of
*
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s
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o

87. $rry
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"A
(as)
./

89. ')-
-J,'
rf?l zL--.'>|I _
-
Itt'
,/[-l+-
AJIS
Completed Super-
deformed Character

90. In-Depth Looll,,...,.
Transfo
Imaoe

91. Character Profile
J
irJ,-,
&
ffiil

92. In-Dcpth
Super-defor
oThe human
complicated
numerous
movemen*
encounter,llri
li i:r:,:i!..ylil:1ili:tilllliVl!t!a$t
Rocl</Sci
istic Hand
#
/
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I :-

93. *{Uq/
1""2 rf (
(d/j
5rq
)/9
d
[))n4)1 )lr 1.F
d

94. Posing Super-deformed Characters
ooo0n ffie next few pages are stylized characters of
assorted occupations and in various dress to be
used as reference.
Many feelthat in recent yearc manga characters
have been becoming less distinctive. ln the past,
characters were s0 clearly expressed that one could
glean what type or role he or she played in a single
glance. The schoolyard gang leader, probably soon
to be designated an endangered species, is one
such character. And then there is the pampered rich
kid somewhere in his entourage. Fujiko Fujio's
method of drawing out a character's individuality to
the max, which is considered proper practice, is still
continued in manga circlestoday. Fujiko's
characters are so terrific that even those picking up
his work for the first time are able to understand
the characters' roles. I mentioned this earlier, but
this is what defines a character's distinctiveness.
Characters that the reader visually cannot discern
who they are and what they are doing will not last
years down the road. So, what prevents you from
trying to create your own characterjust saturated
in individuality right now?
dtt I@

95. pq
'6 re',.'
Q
t,
T
When the subject of boys comes up, I can
think of numerous characters to create
using exaggeration techniques: an imp with
a sword; a spunky, brawling, scrape-covered
scamp, a numbskull, and a gloomy Gus.
I might even be able to think up more.
Each pen stroke and each prop greatly
affects the characters' looks.

96. NA,r)a,;
I=
Doctors come in various forms. There are kindly doctors and quacks. For the
latter, draw the doctor hunched over, to suggest a sense of danger like that
one might find in a darkened alley. However, take care when drawing the
character hunched over that the figure rounds only at the shoulders and not
the small of the back. (0thenrvise, you will unfortunately end up with an elderly
character. A definitively different style of bad posture is needed from that
when created elderly characters,)
As when drawing a boy, exploiting minor distinguishing features can suggest
personality differences within a given profession. For example, even amongst
police officers and detectives, there is a wide assoftment of possibilities: a
respectful and polite rookie cop; a sunglass-sporting hot-blooded detective;
or a shrewd detective, like Columbo.
Alternatively, for police officers, it might be interesting to show a disparity
between the otficer at work and in private, as is shown in the illustration.
il4iC
<+L
z= <

97. ( /1)
A schoolteacher is regarded as a
sacred profession. Still, a little
tinkering can create a character such
as Kinpachi from the TV series "San-
nen B-gumi Knpachi-sensef' (Mr.
Kinpachi's Third-Grade Class); a strait-
laced, uptight teacher; a teacher so
mean, he eats children for breakfast;
or a mobster-looking teacher.

98. 9-9,,A./lr
a
-1Ji_
/
'-3tr'
*]L-
Li
ie&tt
L
@

99. //rf--_t //,
'@..@
{"
lg i
a_rftVrr!.{,
re.. (-Tr'tAo
7 /
h3
e
/
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100. Methods of Stylization in Game Characters
/'-)
nu
What you see pictured here are simulation game characters lcreated approximately 10 years ago.Atthe
time, stylization techniques where still being developed, which is probably apparent in these images, but
I still hope that you find them useful as reference.
ln the case of SLGs (Simulation Games), the characters usually appear in panels, so unlike the characters
in " Dokapon Gaiden," these characters were not intended to move, and it was important to emphasize
design as a still picture. As a result, you may find that some of the char4cters probably couldn't move if
fiey tried.

101. n
31

102. / / t,i
ltls
llt"
/t ll
These too are characters
I created about 10 years
ago, so stylistically they
look a bit different from
what we have today.
When I designed them,
I had given due
consideration to their
roles to make them
distinctive. Again, I hope
you find them useful as
reference.
'!/-... -i

103. m!ffi @oglze for putting these characters in the reverse order. 0n this page appear characters I created
,lumq ment stylization techniques. You will probably notice the different degree of stylization and handling
m mr wk in fiese characters as opposed to those on the previous 3 pages. Monsters are a type of
wpt ;cilil$lde), so it is acceptable to handle their stylization the same as you would a human heavy.
Ms mte, lpwever, that how you execute them will affect whether you make them scary or lovable.
llhr ffienstein Monster, Creature of the Black Lagoon, werewolf, etc. are drawn with the same eye level
G r rilunan. fur heightened drama, the heads may be enlarged to boost the sense of tension or fear.
lurmmmty, using a perspective whereby the head is made smaller does create a psychological state of
um' m tfst fie monster appears to be looking down at the viewer, However, take care: a super-deformed
rlltffffi@/s personality is concentrated in the face, s0 making the head smaller could backfire on you.
@
/f, A
,o

104. Super-deformed Character Gallery
ffio&
Super-deformed Character Designs for Children's Television Programs
0n these pages are characters I created for an old children's television program. Sadly, they were never
used (wry laugh).
I am not sure how appropriate the phrase "children's program" is. However, these characters required an
unusual execution, whereby the figure was to appear flat and yet rendered as if seen in 3-D. To explain
this in simpler terms, the characters were to appear as flat, two-dimensional objects. Color was also
handled in such a manner as not to create a solid feel but rather to make the various parts distinguishable.
There are shoujo manga artists who create flattish characters but use brushstrokes and gradation tone
(a method of adding "color") miraculously to create a sense of volume. However, to a yet unsophisticated,
young child such characters look fake. To young children, who take these images at face value, a flat
character should be flat, and forcing 3-dimensionality on such a character is nothing less than offensive.
There may even be adults who look at shoujo mangaand react with similar distaste. Thus, the character
must first be regarded as a flat plane. Then, the character must be regarded as a 3-dimensional object that
is able to move, in order to make a child's fantasy world come alive, where the child can play with the
character. Consequently, an innocent child would sense a clash if one were to use heavy-handedly the
methods of head-to-body ratio adjustment discussed previously. Hence, this was another point that needed
attention. Stylization intended for children's consumption is extremely complicated requiring subtle balance
and involving issues unthinkable for normal stylized characters. Even more, execution of these characters
requires awareness of using clean, carefully placed lines thickly drawn to a certain extent, rather than thin
detailed strokes, and it is not an exaggeration to say that stylized children's characters are absolutely the
final goal of this book.
Please note that our discussion of character execution as it appears in this book is still incomplete, and I
hope to cover more in later volumes.

107. Super-deformed Character Design for Gaming 1
""ress are from the unreleased character profiles I
msqned for the game " Dokapon Gaiden" some
Mrriie ago.
-u"xti{e tre characters designed for the SLG
$snssed earlier, these characters are stylized
mrder fie assumption that they would have to be
mpable of motion, since Dokapon required a certain
ffiqree of movement. Thus, I needed to achieve
raance in the degree of stylization and to execute
fe joints believably.
The arlisl has Lo
think abou| the
ch a r a cNer o' ely lizaLi o n
balance eo lhaL he or
ehe can ?ortray action
correctly.
@ 1995ASMIK

108. r*i*

109. ?
@

110. Super-deformed Character Design for Gaming 2
j" rese pages appear some of the characters I created for the game discussed on p. 98. They have been
sl,' zed to illustrate their professions and other qualities, but they have not been executed to allow motion,
as novement is not a prerequisite of SLGs.
These characters represent various occupations and uniqueness. Their "eccentricities" are strongly
crcjected. Conversely, the 2 protagonists appearing at the bottom of p. 1 1 1 do not exhibit strong portrayal
c'f eccentricity, but rather their uniqueness is downplayed. The reason for this is if the frequently appearing
protagonist was a strongly eccentric character and the player became accustomed to this, then that would
cause the other highly idiosyncratic characters to lose their distinctiveness.
Metaphorically, the protagonist is like the white rice of a meal, while the opponent chara@rs are like the
side dishes. An opponent character, like a side dish, is more interesting if it changes from day to day.
However, if the protagonist, were not like white rice, but like fried rice or chicken and rice, wouldn't you
grow tired of it? That is why the uniqueness of the protagonists pictured at the bottom of p. 111 were
minimized somewhat.

111. )
ffi

112. 4=
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I
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t
1'-,<-
i
I
!iz
.:. i
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113. N
PJ
-U V'2I -z ')y'
:j*,

114. ily,,r'{fii ,(
1',V....b q
)r7@
@
@

115. Chapte r 4
o o*offio
Super-deformed Character Odds and Ends

116. Let's Compare !
oooFtere s a titfle bonus. I wondered what it might be like to redo using stylized characters a collection of
ffiayg6shorb trat were published some time ago, so I played around a little, and the results are what
you see on fie next few pages.
lronically, I do draw considerable amounts of regular manga (chuckle), but for some reason I just can't
shake my reputation as a gag mangaartist. So, I figured since that is what people think of me anyway,
I might as well parody my own manga.The published collection consisted of 4 regular shotts. At the
volume's end I added a brief, collective parody of the preceding shorts (grin). I hope you enjoy comparing
the originals with their parodies.
Thio is juot, a tyVical
ohoppinq area. bul,to
her, it, musN be like a
children'o amusemenN
park. SLill,l enjoy oeeinq
ouhere ha??y.

117. Um...l gueoo.
Hey, eince we
came all t,he
way to Nhe big
ciLy, can I do a
little ohoVVing?
Wowl Even the peoVle in
lhe sf,reet are otylizea.
./.
frrs).V

118. Note that the backgrounds are also stylized.
;t @
@
@
@
@
@
/i
-----
t-
9o, can you iell ue
whal happened to
that, kid, afLer
Lhat?
l,ello, DetecLive.
UnforLunaLely, if rhe
memory of the murder is
expunqed, any recollectrion
of her molher will also
vanieh, eo eeparaLing the
Lwo is difficulL.
@.' Low is she
doinq, DocLor?
7he'e doing well.
7he'e receivinq
her f,realmenl
ae advieed, and I
expecl her lo be
discharqed early.
-.^
@-:
r lfuqI
SeVaraLin7
l,he lwo, huh?

119. WelL we had a litLle
ehocking evenl.
W ell, um...l'eheh eh...
What,
hapVened lo
lhe director?
ltello,
Oeleclive.
M
ffi
M
ffi
(E [.t
low arethey?
Well, Lheir cernenl mixlure
seems somehow off. , .--
rc(
Do you wanL to hear whal I
know? Gen drew Lhe parody
from memory, eo he 4oofed,
up lhe poeilioninq of the
deleclive and r,he doclor.
Tee heel

120. Realistic manga is an experimental work, where the artist can play with
expressions in lines and planes. Thus, parody manga may have more of
a sense of volume (wry laugh).

121. Nanmaida
1 (Duddhiot
prayer).
Nanmaida.
Vmen. Amen.
boom,boom,boom

122. A parody of a sentimental ending can look like...

123. eorry tolko. Thie collecl,ion of
shorls is out of print and
can only be found now aL
uee d b o okeLores, online
auction sites, or reissued
publication oiLee.
@

124. Special Bonus
Mix and Match to lmprove Facial Layout Skills
#ooYou have probably gained an understanding of how irnportant the facial layout is to a super-deformed
character. So now, let's work 0n your layout skills using this special bonus supplement mix-and-match.
You'll have even more fun using eyes, mouths, and other features that you draw yourself. play around
with different features and try designing your own facial layout.

125. AG
g
^
0_/
4
@
0-_._,
z
,rfurg'2_- '
.C
--+
F
=' rg')"/____/
Er d
,ru /ry-,
-
F
AA,
&"(!)
:/^
.4"
1123N
-.d

126. )
( ,^5
)(
c_-.l
)
I
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(
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GO
A
41241
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127. UW
F s ?
@

128. Q9
GO
GO
QO
@
GO
GO
O
o

129. Afitenruord
ooffi.{s fe !,:nr,x s aufior, I sincerely hope you have acquired some
ffirr?:;a:o,r of super-deformed characters. Still, I realize that you have
r***- iirrc,rced to only a portion of stylistic techniques given the
rmrmr]'s of U'rat presented in this volume. To understand super-
m,i:rec cnaracters, an artist must staft by gaining thorough familiarity
,rurrff :e aqtJal human form and realistic drawings. Realistic drawings
n'ru}'rr rle tansformation of the original picture or photograph and,
Hrse:Je'nty. are rather easy to draw. However, drawing super
ns.i:red cnaracters requires that the artist overcome various
:::rx[-ars. so they do take exponentially more time to draw than
,?fr si,r Crarvings, Simply drawing and abbreviating is not how to create
r s;88..-,0€formed character. I personally believe that a character will
qx r:,nC and last for years to come if it is executed in a manner that
ahr*s i to live within the world you created. I encourage the reader to
;::;i:E sriper-deformed characters with even more interest and appeal.
lnst Profile: Gen Sato
iar :eoLted as a manga artist with his " Gundam" parody work, " Bakusho Senshi SD Gundam" (Riotously Funny
lulir*r:r SD Gundam), published by Kodansha. Sato is currently active as an anime and manga creator as well as
r r-s:r-uctor of new generations of aftists at various trade schools.
. 'lrif,l'rne Projects Participated
lle-a,o Doremi Dokkaan!'("Pestering Witch, Kaboom!"),'Ashita no Naaja" (fomorrow's Nadja), "/ppafsu Kanta-
r;-n 0ne-hit Kanta), "Sfln Lupin-sansel'(New Lupin llll,"Sutajingaa" (Spaceketeers"),"Gatcharnan ll,"
,rv;redy Monogatarl' (Pink Ladies' Story), "Asflta no Joe llffomorrow's Joe ll), "Ucltu Senkan Yamato ll'
Ha:e Battleship Yamato ll), " Zendaman," " Ginga Tetsudo 999' (Galaxy Express 999), " Ucltu Senshi Baldios"
Scam Warrior Baldios), " Sengoku Majin Goshogun" (Goshogun, Demon of the Warring States), " Daioja,"
s-ryiam ll," " Gundam lll," "Votoms," " Cmsher Joe," " Kyojin Gogu" (Giant Gogu), " Dirty Pair,' " Futari Taka" ffwo
-am'ksr. " SD Gundam /' through " SD Gundam Vl," " Maitchingu Machiko-sensei' (Miss Machiko), " Manga
*, nete Monogatari(First-Time-in-Manga Stories), and many more.
. Domics
-psumi!Watashi no SarDoi' (Goodnight, My Cyborg Boy;Tokuma Shoten Publishing Co.), "Aidoru Tantei Hirashi
'r Snakase" (Leave it to Hiroshi, The Dashing Detective; Tokuma Shoten Publishing Co.), " Famikon Hissho Doio"
Earnrly Computer, GoAhead and Laugh;athree-volume series published by Kodansha Ltd. Publishers),"Bakusha
-??6hl SD Gundam" (Riotously Funny Warrior SD Gundam; an eight-volume series published by Kodansha Ltd.
;-clishers), " Mina-san! Banbaman desu yo!!' (Everyone! lt's Bomberman!!; a four-volume series published by
rodansha Ltd. Publishers), " Binpatsu lchiban" (Best in Hair; a two-volume series published by Kadokawa Shoten
>rbiishing Co., Ltd.), " Famikon Tanteidan" (Family Computer Detective Squad; a two-volume series published by
l*ta Publishing Co., Ltd.), and many more.
. 0trers
$ippen no Miko-chan" (third generation of the commercial manga characler),
i'flovie: " Tokiwa-so no Seishun fl-okiwa: The Manga Apartment; served as manga production supervisor),
irlrppon Television FAN (as program illustrator, etc.)

130. We're covering animale in
How lo DrawManga:
Suoer-Deformed
ChLractere Vol. 2ll

131. LIS $19.99
About the Author
Gen Sato debuted as a mango artist with his
"Gundom" parody wotk,"Bokusho Senshi SD Gundam"
(Riotously FunnyWarrior SD Gundam), published by
Kodansha. He is currently active as an anime and
manga creator as well as an instructor of new
generations of artists at various trade schools.
m nir. howtod rawman ga. com
powered ,, JAeAnUme

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