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How to draw manga vol. 28 couples

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How to draw manga vol. 28 couples

  1. 1. EASTERN REGIp!n! !!eilaflrg lt wT#uuryy.]H[J OUPIE Hikaru Hayashi
  2. 2. Collect all volumes of the exciting HOW TO DRAW series. FEMALE CHARACTERS lsBN4-7661-1 146-X BISH0UJO Around the World lsBN4-7661-1 1 49-4 COUPLES tsBN4-7661 -1 241 -5 ILLUSTRATING BATTLES lsBN4-7661 - 1 ',t 47-8 OCCULT & HORROR lsBN4-7661-1 150-8 MALE CHARACTERS lsBN4-7 661 -1 240-7 BODIES & ANATOMY lsBN4-766 1 -1 238-5 MAKING ANIME lsBN4 7661,1 239-3 Distributed by NIPPON SHUPPAN HANBAI INC. 4-3 Kanda Surugadai, Chiyoda-ku, Tokyo 101-8710 Japan Tel: +81 -(0)3-3233-4083 Fax: +81 -(0)3-3233-41 06 E-mail: nippan@netlaputa.ne.jp Distributed Exclusively in North America by DIGITAL MANGA DISTRIBUTION 1123 Dominguez St., Unit "K" Carson CA 90746, U.S.A Tel: (310) 604-9701 Fax: (31 0) 604- 1 1 34 E,mail: distribution@emanga.com URL: http://www.emanga, com/dmdr BISHOUJO - Pretty Gals lsBN4-7661-1 148-6
  3. 3. I{OWTODRA$/ Gouples
  4. 4. HOW T0 DMW MANGA: Couples by Hikaru Hayashi Copyright O 1998 Hikaru Hayashi Copyright @ 1998 Graphic-sha Publishing Co., Ltd. This book was first designed and published in 1998 by Graphic-sha Publishing Co., Ltd. This English edition was published in 2002 by Graphic-sha Publishing Co., Ltd. 1 -l 4-1 7 Kudan-kita, Chiyoda-ku, Tokyo 1 02-0073 Japan Drawing & Production: Yasuo Matsumoto, Jun Matsubara, Kento Shimazaki, Miki Murakawa, Tomo 0take, Rio Yagizawa, Kiyoe Yokoyama, Komachi Sengoku Cover drawing: Rio Yagizawa Reference work: Jun Matsubara,Yasuo Matsumoto, Miki Murakawa, Kento Shimazaki, Tomo otake, Komachi Sengoku, Takehiko Matsumoto, Riho Yagizawa, Kazuaki Morita Composition & Scenario: Hikaru Hayashi (Go 0ffice) Main title logo design: Hideyuki Amemura English edition layout: Shinichi lshioka English translation management: L[ngua fr6nca, lnc. (an3y-skmt@asahi-net.or.ip) Japanese edition editor: Motofumi Nakanish (Graphic-sha Publishing Co., Ltd.) Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.) All rights reserved. No part of this publication may be reproduced, siored in a retrieval system, 0r transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otheMise, without the prior written permission of the publisher. Distributed by Distributed Exclusively NIPPON SHUPPAN HANBAI INC, IN NOTthAMET|CA bY 4-3 Kanda Surugadai, Digital Manga Distribution Chiyoda-ku, Tokyo 1123 Dominguez St., Unit "K" 101-8710 Japan Carson, CA 90746, U.S.A. Tel: +81-(0)3-3233-4083 Tel: (310)- 604-9701 Fax: +81-(0)3-3233-4106 Fax: (310)- 604-1134 E-mail : nippan@netlaputa.ne.ip E-mail: distribution@emanga.com URL:http://wvw.emanga.com/dmd/ First printing: November 2002 ISBN: 4-7661 -1 24 1 -5 Printed and bound in China
  5. 5. r{owToDRA$/ Couples
  6. 6. Table of Gontents Ghapter 1 Theory Behind Drawing Gouples........s Theory Behind Drawing Couples ...........6 Height Difference ........,......... ..............1 0 Height Difference and Presentation of Kissing Scenes...'11 1. Presentation when there is little height ditference ......11 2. Presentation when there is large height difference......1 1 Differentiation of Same-Sex C0up|es.........................'l 2 Basic Male and Female Body Types ..........................13 Various Couples ............14 1. The female is taller than the male ............................14 2. The female is smaller than the male......... ................14 Reason for making the height of the male and female characters different ................16 Chapter 2 From Dating to Making Love ....r2 Dating: Composition Patterns ..............18 1. Drawing the full figure of both characters............,.....1 8 2. Having one of the character in the foreground (close-up).....1 9 Walking Couple fiwo Characters Walking) ........ .........20 '1. Walking side by side..... ....................20 2. Holding hands while walking .............22 3. Pulling arm while walking .......... .......23 4. Female holding onto male while wa|king........... ........24 5. Female being pulled by male while walking.. .............25 6. Clinging to arm while wa|kin9..................................26 a. Male and female couple .................26 b. Same-sex c0up|e............. ..............28 c. Rear view ...............29 7. Arm over shoulder.......... ..................30 a. Carrying arm on shoulder .....................................30 b.Arm behind back............... ............31 c. Two males ..............32 d. Two females ...........33 8. Placing hand on shoulder.......... ........34 9. Wrapping arm around waist ....................................36 Sitting ........... .......,........3B 1 . Sitting across from each 0ther...............,.,.,,............38 o Side/normal view............... ..........,.38 . View from behind one of the characters ..................39 o 0verhead view............... ................40 2. Sitting side by side..... ......................42 3. Sitting close t0 each other....... ..........44 Hand actions.. ...............46 1. Contact between hands ............. .......46 2. Touching the face or head ........... ............................47 Facing Each Other & Looking into Each 0ther's Eyes ....48 Looking lnto Each Other's Eyes: Variati0ns ................50 Two Characters Cuddling ....................52 Grabbing or .Embracing From Behind.........................54 Reaching over the arms.............. ....,...54 Reaching under the arms..........................................55 Female embracing male from behind..,.,.,.................56 Male embracing male from behind.......,.....,..............58 Female embracing female from behind .....................59 Pulling a Character to 0neself & Clinging to a Character....60 Embracing...... ...............62 Thickness of trunk and length of arms......................64 Trick to drawing a couple embracing ........................66 Presenting the faces of both characters .................... 67 Two males embracing..... ....................68 Two females embracing ................,...,.69 Body anatomy learned from two people embracing .,70 Kissing Scenes........... .........................72 Composition of kissing scenes ............72 Male giving female a kiss .................,,......................74 Female giving male a kiss......................,,.................75 lmmediately before a kiss .......................,.................76 How to draw kissing scenes ...............77 Kisses Aimed at Places Other Than the 1ips.,.,,.^.......78 1. Kissing the forehead.... ............,........78 2. Kissing the eyelid........ .....................79 3. Kissing the wing of n0se........... ........80 4. Kissing the chin.......... .....................81 5. Kissing the cheek ............................82 6. Kissing the ear........... .....................84 7. Kissing the neck......... .....................85 Bedroom Scenes.......... .......................86 1. Sleeping side by side .......................80 3. lnterlwined ...............90 4. One character on top of the other: changes in bodies caused by weight of the character on t0p..................92 5. Couple in the mood..... .....................94 6. Bonus ..,...................96 Putting on a Ring........... .....................98 Sitting Erect 0n One's Knees Side by Side (Stiffl .......99 Weddings...... ..............100 Dress and Tuxed0....,...... ...................100 Kimono .......................102 Picking up in Arms..... .......................104 Male picking up female...... ...............104 Ma1es............. .............106 Females :...........................................1 07 Back of the Head ........108 Ghapter 3 Techniques of Manga Artists..rog Battery Couple (Picher & Catcher) byTakehiko Matsumoto ....,,..,...........110 Pure Lovers by Yasuo Matsum010......,,,................... 1 1 2 Brothers by Kent Shimazaki ..............114 Hunter Couple by Kazuaki M0rita ...,,.,...,,................1 1 6 Boys in the Mood by Jun Matsubara.,,.,..................118 Healthy Couple by Miki Murakawa ................... .,.....120 Crystal Lovers by Tomo 0htake ........... ..............,.....1 22 Mysterious Nuance by Komachi Seng0ku........ ........124 Happy Lovers by Rio Yagi2awa..........................,.,,..1 26
  7. 7. Chopfer I Theory DrcN,ving Behind Couples
  8. 8. $K Even when drawing same sex pairs, height differences facilitate imparting roles and moods since the picture becomes more lively. 6 f, t" r((Ct :--/- *;- z. / lit
  9. 9. Make tie crotch height the same for characters standing next to each other O Draw outlines showing the height ditference. o Draw a line for the ground. o Make the size of the heads the same. @ Figure out the crotch height. o The characters will look better if their crotch areas are higher than the mid-line of the height ffir draracters will have long legs and look cool if you mtw he female to match the waist of the male. t rs difficult to draw men and women side- ry+*le when different styles are used. One dfiem may end up standing out (afloat). The male looks realistic when drawn to match the female. The female has long legs when drawn to match the male. 7 @ Draw either the male or the female first. Head-to-body ratios 1 t010
  10. 10. When the characters are embracing or lined up behind each other, the two blocks combine thereby forming a pillar.
  11. 11. ilave the bodies "pedorm" even when a bust shot is used TTting fie head or changing the direction or inclination of the upper body adds life b fie expressions of the characters and the mood. I Characters are closer to each other. Characters are away from each other. Cocking of the head. The female's shoulders are facing outward, The female s upper body is tilting inward (toward the male). Both bodies are tilting inward. The shoulders of both characters are facing outward.
  12. 12. The height difference should be anywhere from half a head length to a full head length, Type 1: Half a head length lype2: Full head length
  13. 13. '1. Presentation when there is little height ditference Standing on toes Bending over slightly. / __ 2. Presentation when there is large height ditference Sitting the male down Standing on pedestal Bending down Sweeping off feet
  14. 14. 5I;l#l,TJfiIl:;iT:fi1ff :?,nill til:,, (! [, -,'A It)/ T_ hrr Females have breasts, but the breastplate itself is thin, and the buttocks stick out. Males have thick chests and the buttocks do not stick out farther than the shoulders.
  15. 15. I I ,-a { Petite females will look like children if the head is not on the large side, the trunk of the body is not short, and the breasts and buttocks are not substantial. Small males have a largish head, a thin neck, a thin breastplate, and thin arms and legs. 13
  16. 16. You can create a variety of pairs and couples by deformation of the height difference. A pair consisting of a boy and his older sister. The boy is smaller than the girl. The boy often comes up to the waist or chest of the girl. l-Y t Lt ),r(fut ( rf) a-
  17. 17. -'he female is smaller than the male ,u'",". $0 male and female are Of rrr :are height, the female tlr":*-- ce ends up surpassing that n .:e nale. .=s'Vrz -/ l- -- ,<^I -, 15
  18. 18. Height difference is visual spice. Such a picture gives viewers a sense of security. When the height of a female and a male is the same, the extent to which the presence of the female is felt surpasses that of the male. Boys have a presence that is fundamentally different from that of girls. Height difference makes a picture stable regardless of whether the female is big or small. a t ililll Height difference makes for a balanced picture. -I ( 16
  19. 19. Chqpfer 2 Frcm Dqting io Mokirrg love ---x r tl.',, $ rJ-vnN
  20. 20. There are several set patterns that are used when drawing two characters separated by some distance and "encounters. " Side view View from above View from behind one of the characters lmagine yourself taking a video or picture when drawing. View from near the ground
  21. 21. *Er.t-'o one of the characters rffi i:'rEground (close-up) The drawing will be unobtrusive if the face of the character opposite is at eye level of the character in the foreground. tN> "lt I l# -ame can be used for a "pafting" ":c ng the character in the distance : ?ction. When the character opposite is taller, draw the face slightly above the eyes of the character in the foreground. Overlapping: At times, the face of the character in the foreground is drawn. ln general, which face is drawn depends on how the frame is il I .: connected to those that come before and after. 19
  22. 22. Pay attention to the position of the feet when drawing a side view of a couple walking side by side. AB You will not be able to see the face of the far character unless he/she walks slightly ahead of the other (unless the far character is at least a head talleO. It will look like the female is walking slightly ahead ol the male if you draw "8" a little in front of "D".
  23. 23. ' flflu]lill llllu l ilrrro:r rrrli]Sn drawing a pair lill|il|lillilltlililllllli :nil]mm Ir i,jt. You can use the concept of perspective. . ffiffiffitare smaller than I is about 1.5 times I I _-_) 21 thickness wffi ffiThe width and thickness of females those of males. The width of males that of females. The human body is akin to a block. Two people side by side form _ something akin to a wall..--
  24. 24. Here the female has a firm grip. Which character is in front and which is in back is expressed by how the side is drawn. Arm swinging fonruard, Front These hands are clasped. 7'tt ,r' V Side (from the female side) A male hand clasping a female hand. Side (from the male side) Back
  25. 25. .,, rrhuillfllq arm while walking l!ryll|ll ril]rlt lrr!]1':t;ts :*0s when i:lurlrfillllllll rillfl drir iur e r,Valking. t;,]IilliLllitillr IlilI I,* -i3-;k l0ngef 'irill lillLlliiirlrl :e Chin makeS tfl tlfl irr I i f afaCtef haS Ir,il ilrr :t",lle and is iflI llll I :.. E: Here the hand is grabbing at the wrist or top of the hand. Here is a hand held by the female. The male supports the female hand. / --]-- ,//z 4 #(r< (hdN), it,'r/ / pulled with great force.
  26. 26. 4. Female holding onto male while walking [0,1 - ] t: ll r 't 4 la I I I Holding onto a finger /- olJil "4xil1 Following along so as to become separated X Do not separate the characters too much when a character is holding onto a finger. Holding onto the hem of the shirt The part being held 24
  27. 27. ,ml :xmae being pulled by male while walking The male does not lean foruard that much. The character will look relaxed if you tilt the head to the side, even if the head is bent backwarCs to ti largs degree. You can make it look like the female is being pulled along if you tuck the chin in slightly or raise it up. The female will look like she is resisting if you lilt the head backward or forward to a large degree. 'itllllllrrril,'llllllllll' ..lllllll$ iltl"illiliilltl|lilllll illl fl'nri ll]]:nir ifiLlitxillllllllfll lli t :r:':y lean *-en the i-"TY, Raising the shoulders will make the character look frantic, so make them look relaxed. I Stick out the stomach and bend the upper body backward. She is relaxed, so do not raise the shoulders. Since she is acting playfully, * bring that aspect out in her legs as well. 25
  28. 28. ln order to make it look like the character is leaning completely on the other (i.e. clinging to the arm), consider the following points. O The upper body is leaning fonruard. 26 rests on the arm being held, so point the hips in the opposite"direction. This cut shows that the character is being consciously provocative. is carrying something when standing upright.
  29. 29. See through view llllllllfi',fllfllll]lrrrr1llilftirr :e rq held .qrs" : ,'; a/*>F- l 'llfllilt rrflrzutilr rw-a6ter's shoulders :nllr 111111116n6 uC -rgh. it WOuld ,wtffiulml lffi ti le s rejecting her. Yfii ilrfl1||lliin]lLutm: rean toward 1!ilr, fillllltlulflutltur rc *lll appearto ssiffir'lil1ili1ttllfli.t:litt lg5lTful' The shoulder line of the female slopes toward the male. Holding affectionately leaning on the male The hips are square. Raising the shoulder of the female and sticking out the elbow will make her look energetic and boisterous. You can portray a quiet but strong-willed female by giving her naturally relaxed, sloping shoulders and supple arms. I I rl ,(' I I
  30. 30. ln the case of same-sex couples, use the hands to express "hanging on and not letting go" 0r "not wanting to pad." Leaning the head and body on the other party emphasizes the nuance of nestling close. /r ) Gripping firmly and locking expresses hidden intentions or resolve. I Not only crossing the arms but also gently overlapping the hands expresses the feeling of wanting to touch as much as possible. area of contact aside of simply holding hands portrays a delicate relationship.
  31. 31. ''o,ng to arm while walking ln the case of males, their hips do not touch even if their shoulders touch. -'e hips of two males are fafther apart than :ose of a male and female. { +1 i t :l T',/*, The hips of a male and female are apart. ( iN i )I The hips of two females touch. l i i
  32. 32. i-) :l ; *.d.1 , , (,. ) ^ ',, t / V I .l-
  33. 33. ( )
  34. 34. ,'i ) ry I
  35. 35. Express the curves and three-dimensional effect of the female body using the angle of the wrist and fingers of the male hand on the shoulder or hip. { 34
  36. 36. A r11r1l[[]1fl1il'' q :€ shoulder slightly .- L ,, i) l I I Hand dangling over shoulder Draw the fingers bent along the curve of the shoulder. Do not bend the fingers very much when having the hand rest lightlY on the shoulder Bending the fingers makes it look like the hand is griPPing the shoulder. 35 Hand placed lightly on the shoulder
  37. 37. - J/ (r.,,*-{ t I , ,) ,/l I rl l /-l ) 36 ..--
  38. 38. You can easily change the mood of a scene with a couple walking along nestling close to each other by changing the position of the hand. Hand placed lightly on hip Hand placed casually around hip ) =ront view of hand I ) _r l( Top view of hand on hip 37
  39. 39. e ,D'aI D5-- 4e- ^Jg This is the version where characters are leaning foruard. Both shoulders are raised since the weight 0f the body is normally supporled by the elbows. ^0L Presentation of hands when two characters are sitting across from each other lnterlwined fingers Hands overlapping Tips of fingers touching
  40. 40. -ne camera moved from position O to position @. llove the heads closer together. View from behind one of the characters ln the case of over-the-shoulder shots, the eyes of the two characters should be the same height. Make the head of the character in the foreground large. The character in the background should be 1/3 the size of the character in the foreground when the character is some distance away and aboutl12 the size when the character is a litfle closer. This is a matter of camera work and presentation, so contrast the two to your own taste as the need arises. The trick is to draw the parl of the head outsrde the frame that is not visible as well. -lI i ,"*" The female opposite is leaning fonruard. Make the face 39
  41. 41. T 0verhead view ln the case of an overhead view, draw the table before drawing the characters. When the characters are facing the table squarely, the horizontal line of the table and the shoulder line of the characters are almost parallel (draw the characters from the perspective of the table). Type A -1
  42. 42. Type C The character is leaning back on the seat. The character is leaning back. Drawings are often trimmed in the case of low angle shots. Low angle shot Vanishing point 41
  43. 43. _ I / sY /t.->J. /w'--=..------,
  44. 44. Side/normal angle
  45. 45. Giving the female shrugged shoulders will make her lf you draw the upper body so that the shoulder line slopes toward the other character, it will look like she is leaning on him. The female is leaning toward male.
  46. 46. :rg 0f the head in different ways will :r:ate a variety of relationships and moods. )rawing shoulders together and hips apart will result in a ouple supporting each other (teaning ;, ;r;h ;;;j. )45
  47. 47. Drawing male and female hands Draw an oval and The female hand then add fingers. is oblong with slender fingers. Draw a square and then add fingers. The male hand is wide with thick fingers. 46
  48. 48. i. Touching the face or head 1,'.lrtl 'r 1r! l ! ! ; ., i'<;- -t illn, r,. t:; , t; /r. hl Na
  49. 49. The angle of the cross (face) is the key. ,) ( The woman is tilting her head a bit. l- ))
  50. 50. Close-up E= *-Zl)W / ''r -N ? tu- ril,w Wide angle 0verhead type Normal angle r-
  51. 51. Close-up Wide angle Slightly low angle Sl,arih" overhead angle There are a variety of body gestures. The chin of the female is pulled in. I t,:., I .... ' , Normal angle i i/4".- > x - 7( {F. ) ',,,
  52. 52. lrzr, ng the same pose using a variety of different compositions. N You can express passing of time by switching between close-ups and wide angles using the same pose, lormal angle Slightly overhead angle
  53. 53. 53
  54. 54. Slightly tilting the head will create a romantic mood. Drawing the chin in and raising the shoulders will create a disquieting mood.
  55. 55. The key to a natural picture is relaxed hands and the angle of the neck. The female will not look very happy if you draw her with her elbows sticking out. Drawing in the chin and partially lowering the eyelids will create a relaxed feeling. 55 Clenching the wrist or turning the wrist up is used when the chan.;ter wants a grip that will not be broken. Avoid this when you want the hands to look natural. The hands are gently p ,irrd together. i *, : Sticking out the chin will make it look like the character wants to escape. Ibr q -:'-
  56. 56. The female's hands do not meet. Express a good mood even though her hands do not meet. Putting the arms of the female under the arms of the male will create a nice mood.
  57. 57. Ptacing the hand over another Wrapping arms around the neck
  58. 58. ) Draw the character being embraced first and then the other.
  59. 59. Difference in the flow of the chest and body lines between males and females when bodies are pressing against each other, Softness of fat in the case of females ;L lt
  60. 60. ln the case of a hand on the shoulder, hip, or back of the head, you can convey consideration, affection, and kindness by not bending the fingers very much. Bending the fingers more and increasing the space between the fingers conveys roughness and strength, if not, a blunt lack of sensitivity. 60 i The toes of one of the characters are directly below the chin or beyond it. Having the palm of the hand facing inward expresses acceptance and asseftiveness. When a person is suddenly pulled toward another, the normal response is to grab something nearby to support your weight. , The weight of the character is over the foot in front. Having the palm of the hand facing outward creates the feeling of resistance, rejection, and anxiousness. t I .,t:[i::: 1-', AN
  61. 61. The illustrations below are various hands placed on the chest of the male. Bending the fingers at different angles conveys a feeling of warmth. A closed hand expresses heightened emotions. Pay attention to the angle of the upper arm as well. Shrugged shoulders and pointing the toes inward emphasize the idea of clinging to someone. 61
  62. 62. Choose the floor line before you start drawing the full length of the body, The mood of the drawing changes depending on the angle of the faces and the tilting of the necks. Draw parts that cannot be seen as well. The trick to drawing embraces is to stick the trunks together.
  63. 63. -":r:::-r:s ,aa-- -5 fl-- - . 't. /X- II :': jecide on the composition rr :-e -rawing according to the -,r"1-: drfference. --:r make the crotches the .,a=e height and work from :- a-e,
  64. 64. Thickness of the trunk and length of the arms The male can wrap his arms around the female by extending his arms normally. Width of male It is difficult for the female to wrap her arms around the funk of the male because of it's thickness. The female has to open up her arms to match the width of the male. When there is a height difference, the width of the female's shoulders is about the same as that of the male's chest. The male's elbow joints bend at around the back of the female's shoulders. The male can wrap his arms around the female with ease. The female cannot wrap her arms around the male fromUnable to clasp hands '--{r--
  65. 65. The male's hands reach as far as the sides of the female. :-:-acing with all their : : r-rl, The female's hands reach as far as the middle of the male's back. The chest of the female is thin even if she is tall. A small female fits in the shadow of the male.
  66. 66. O Draw a rough outline. @ Make the stomachs flush. The male's face is in front. li will look like a sumo malchl When the stomachs are apart, you end up with a different type of picture. The female's face is in front.
  67. 67. :":senting the faces of hoth 4 '-1 ! ,if :eV rd -- 1 -t /l .t )l ,il /l"il -, )-: i
  68. 68. ,//, t'/ .i4- A scene with males or females embracing is often used when emphasizing emotion. t The angle at which the bodies collide and the movement of the feet convey rough, lively motion. The kindness or affection between father and son or coach and athlete is expressed by bringing the bodies close together. Embraces between two males are often centered on extremely simple expressions of emotion.
  69. 69. Embraces between two females involve not only simple expressions of emotion but also the joining of bodies as if they are instinctively protecting something, Unlike males, female embraces are characterized by contact over a greater area even in flamboyant scenes. Simplifying the direction of the faces will create a cheedul mood. 69
  70. 70. anatomy learned from two people embraci --t-/-7'i" =--7;Two characters that approach each other from the front will come into contact at the ribs (chest). Males have long arms, so they can wrap their arms around the trunk even if there is a slight height difference. ln the case of two females, the arms can be wrapped around the trunk or waist since the chest is thin.
  71. 71. Convey the thickness of the body in the case of two males. r- 71
  72. 72. Many kissing scenes are a combination of a face viewed from above and a face viewed from below. iPK) 'A l, rt:l /'-ll IN I I I s ,#'-'.4 ,/' /t/'I fi/ Face viewed from above ffi I N U ,l r [,r? 72 / ,ZE----
  73. 73. (Mt v--i r =) 7 rg At least one of the characters has to tilt the head. /"i u })) Not drawing the lips (omission/symbol) Various ways to handle the mouth in kissing scenes Drawing the shape of the lips (realistic) Drawing only a line (simplification) 73
  74. 74. ry
  75. 75. Female giving male a kiss ,l tt/''
  76. 76. _ re @= f, ,,ltl'' >-€ il ) ////" "/.;7)/'z;/zz3 '-r Moist eye Eyelid partially closed , fN-rc)
  77. 77. How to draw kissing scenes You can model two people kissing by drawing a cross on a tangerine and an apple. The mouth is located at the center of the face. 1 The trick is to confirm the position of V the mouth even if it is not visible. fh' r.,th I .' lt'' //N'r([ L ,/ ): /fr i/ ) ( -^< /) ./r' I I The mouth is not visible from this angle. Confirm the overall contour and position of the mouth. ( Severat ways N"-mouths.
  78. 78. 1. Forehead 2. Eyelid 3. Wing of nose 4. Cheek 5. Chin 6. Earlearlobe 7. Neck
  79. 79. "I il t Kjssing the eyelid )-) *.Lt 7g
  80. 80. ( N rr)) J
  81. 81. 1 Kissing the chin
  82. 82. ,/ I I (
  83. 83. iI I' r iii,i[lr' -.)M)1r*/l '^ ,l 'I lt ' lll ( fuNR ]Y// I _Z; u / - ' -.-' N /,r r r .l 7t tNIl l $ ilt )l,r@a ( rrt" /t N ) ln the case of the back of the head, express the direction of the face using the shape of the ear (See page 108). 83
  84. 84. ta7 T -.7 ,: )*4<l N N _/) I---*rr'/ ''/'- /t/,t $:- ----- l'=' il I -.zzv.[*=__ / ) n' i F { r'^( i?-11 rF -J
  85. 85. i, Kissing the neck 'r#}. rl lllli ,l 'll -/ l/,/ / t -, :riations {=. l >. / v 7r (k N=- -/ < N ,,,J :lf>- -_r7 / /,^'.-"
  86. 86. ,/ /, ,/ -O ihoosethe bed 7x' sudace. @ Draw boxes on top of the bed. O A rough image @ Draw the bodies based on the boxes. 86
  87. 87. 'iolding hands FI| I t $ i I , t I a I t I N :l ,.; :' ! ! This portion of the head -/'--- sinks into the pillow.
  88. 88. A composition for indicating the situation. The more you try to draw the full length of the two characters, the smaller the cut will become. ln the case of a side view, putting more shadow on the character in the foreground adds variation to the image. The shadows when wearing pajamas will be different from those when nude.
  89. 89. ln the case of the male body, there will be no major physical change regardless of whether the character is face up or on his side. The biggest difference between males and females when lying on their side is the curve of the hip.
  90. 90. When you want to convey the three-dimensional effect and roundness of the flesh, have light come from one direction and cast shadows on one side.
  91. 91. -r:, -g the male not only gently hold : ; ^:ad of the female but also touch "*. ;ar with his finger heightens the * -,-,1. lt will also make the male look - -,.' masculine. -,:: ng knee joint lines will make the =":s look masculine. Express the softness of females by drawing supple thigh lines. Male and female Clearly drawing the elbow joint of the arm around the neck will make the male look more masculine. Male and male As for the overlapping of male chests, use very gentle curves to express the suppleness of the muscles. Female and female As for the overlapping of female chests, a kind embrace can be drawn by drawing the shape of one or the other's chest. Adding variation to the fingers will make the hand look more gentle. The hand is placed so that the fingertips touch the line from the bottom of the ear to the chin. When drawing a hand placed on the back of the head, give viewers an idea of the shape of the head by the curves of the hair. ., i:::t::ri:l:::::l::::t:::h .::::1.:::r::::r. !: 91
  92. 92. 4. One character on top of the other: change in bodies caused by weight of the character on Male on top of female Female on of male
  93. 93. Male on top of male d,ir Female on top of female
  94. 94. When the faces (heads) draw nearer, the bodies inevitably come closer. Think of either bringing the heads nearer or crossing them. Relaxed facial expressions, as well as hands and feet, will help depict two characters who have opened their hearts to each other. : !:' '-_s lr- I , :,,, ^.- :::l:l bJ.*-* ffi,:,1::-:: :, j: :::,, :,]:,,':, :,,,,,,:,:j,:,],,, +rlt:.:::.:: U1: '::::r::l -:,:.:,:::'i.:.:': - ' : . j ' : , : , : , ] . : : . : ' : ::,:::::::,-:::. :'] ::]j:: ::: :::, ::, ,:, ,:: ::::::::, :::::::,,: ,::i ::: ::j 1: .:. :'r.:r'::r'::: '.. .:...:.. .'.' '::r':': ':. ..:..::.::: : :.:.:.:.:.: :.:::.:.:.:.: :.:r::i:
  95. 95. Male and female Female and female
  96. 96. )/ /.-- ',- K
  97. 97. '&4 g't / r'. - l.--- lq--*-*** Sitting erect on their knees in a stiff manner. (-- --- Rear view of characters sitting erect on their knees ' ,/rr;,urderand / knee lines are gg' The male will look proud with the elbows out, L _ -:':i'T i': I i'j'Ii - _r You cannot see the arms when they are i sitting in a stiff manner.l I I I I t Normally, the elbows can be
  98. 98. Flared-type dress The skirt widens like a trumpet. Mermaid-type dress The line from the hips is smooth and widens at the hem. The heels worn under a wedding dress should be simple.'100
  99. 99. r =..:xedos worn at weddings are often white.
  100. 100. Bride's hood on her coiffure 7( I I TI
  101. 101. 'I I I 0 ( I I t t 103
  102. 102. A.l,.r,ot*,, / temate snoutd I I almost be shaped be about the same height as the head. ll' A I
  103. 103. N a -/r 4( u ,) m SvA I I i
  104. 104. L"y /--: /1', ) i---=.22 .-,1 7 6 - .---z
  105. 105. u +tDi- >r, R{ / l I .l?4; / )N ri *' 1
  106. 106. Chopter 3 Techniques of Mongs Ailists
  107. 107. the wrinkles of the clothing, the "thin chest of 7 females" could be expressed without / When a character is hugged from over the arm, the shoulder joint becomes closer to the front of the body. Since the structure of the human body was factored in when drawing,' emphasizing the sexiness of the characters. Use of gradation and tone planing is effective for expressing roundness and three-dimensional effects. The instantaneous exhilaration and movement starts from the deformation of the picture's composition and solid expression of the bodies Flowing hair and a fluttering skirt are standard techniques for adding movement to a picture. Drawing the bodies of the two characters at an angle to the picture strongly depicts the force of the embrace and the weight and presence of the characters. By capturing the instant when they are off balance to the point that they might tumble over in the next scene, you can add an uplifting feeling that is striking. Additionally, the arms wrapped around the body of the other character solidly capture the three-dimensional effect of the bodies, making the presence of the characters more convincing and adding greatly to the presence of the two characters that have become one united body. l} Takehiko Matsumoto I Birthplace: Shizuoka Prefecture, Japan i Tools t . Main lines and characters: G-pen tip r Fine lines: G-pen tip . Portions of the eyes and nose were drawn with a Maru-pen tip (Round Tip). . Rough sketch:mechanical pencil (0.3 mm,28) 110
  108. 108. **i -.t f it:tlt:::ii'li.::ill::::i]i''i:i:ii::iii]l.i.iii],::i :l:.
  109. 109. by Yasuo Matsumoto The pattern on the female's pants are from a single tone. You can convey a spatial effect and sense of depth as well as a stylish atmosphere simply by shading black for the shadows and using diagonal lines for the inner leg in combination with a light tone. A character will look stylish if you partially use patterned tones. For the shadow of the hand on the ankle, draw a curve to match the curved surface of the foot. This alone will emphasize the weight and presence of the body. The nuance of two Iovers begins with the composition of cuddling and a carefully calculated center of gravity ln a picture of a couple cuddling, drawing the characters so that their weight and center of gravity are on the inside gives rise to the exquisite nuance of the couple leaning on each other. This is captured by drawing the upper body and head of both characters leaning in relative to the position of the waist and buttocks. The key to this picture is that the bottom of the left foot of the female and the bottom of the left leg of the male are both drawn. Realistic depiction of the details, i.e., raising of the foot on the side opposite the direction the weight of the body is being placed, impartS stability to the picture as a whole. I Yasuo Matsumoto i Birthplace: Miyazaki Prefecture, Japan Representative work: "Takuma Ones (Delivery Girl)" l) Tools l) o Main lines and characters: Maru-pen tip (tip worn from drawing background) . Background: Maru-pen tip . Rough sketch:mechanical pencil (0.5 mm, B) 112
  110. 110. 7 (,,
  111. 111. The reality created by clearly drawing the details, including the necktie pattern, the cup, and the hamburger wrapping, is an important element for drawing the reader into fictitious story. (- C: Ir Conveying the presence of the two characters begins with capturing the individual human beings-Contrast everything using fashion based on the personalities of the characters Two distinctive characters with completely different lifestyles and tastes are depicted using fashion and hairstyles. These two characters that appear to have absolutely no connection to each other have such a strong presence that it could make readers feel uncomfortable. However, the fashion based on the inner characteristics of the individuals adds depth to the world being depicted in the picture. The blank expressions of the characters give a cheefful mood to the overall picture, but the hands placed casually on the wrist and shoulder suggest the fearless personality of the boy in the back as well as the relationship between the two characters. I Kent Simazaki <) Birthplace: Kanagawa Prefecture, Japan i Tools l) r Main lines and characters: G-pen tip (Zebra) r Fine lines and background: Maru-pen tip (Zebra) r Rough sketch: mechanical pencil (0.5 mm, B) /-l ( V- 114
  112. 112. A,A dc Am
  113. 113. Make the shadow of the breasts sharp and boldly solid using black. By doing this, you can simultaneously express the pliability of the material of the clothing and sexiness. Note that the use of black (depicting reflection) on the shoulders and the side differs from that of the breasts (due to the difference in material). 116 Reveal the personalities of the two characters and their relationship using gestures and acting A strong-willed female and a male who cannot stand up to her. Their actions and expressions convey at a glance the world, the characters, and their relationship. This is fundamental to drawing comics and also the most important aspect. Additionally, the hand and foot adornments and adornments indirectly capture the personalities of the characters, their relationship, and the world. The fact that the two characters have absolutely nothing in common is just one of the many aspects that stimulates the imagination of readers. I Kazuaki Morita A Birthplace: Shizuoka Prefecture, Japan i Tools t . Main lines and characters: mainly Zebra G-pen tip . Fine lines: Maru-pen tip . Rough sketch: mechanical pencil (0.3 mm,28) ' ,a.ti ',./U4
  114. 114. ;,ili. r$ ':; ,/ { ; ilir l '-7 7 s -a- t )i
  115. 115. Merging the border line of the cuff with the black on the body of the other character is one technique. There is a tendency not to integrate the outline and the background, but a mysterious mood or shade of meaning can be created by merging it with the background. This is the chest region that will be solid in the finished picture. The flat breastplate line conveys a boy of slight build. ln the case of this couple, "matching" colors were used only after the characters were distinguished by different hair color and body size. Their shirts are not exactly the same, but they have a similar "feel." This presentation arises when you want to simultaneously convey the idea that the characters are by nature individual humans but they want to be as close to each other as possible. The black shirts not only suggest that they are physically melding together and becoming one. They indicate the subtle state of mind and relationship of the characters. l) Jun Matsubara I Birthplace: Chiba Prefecture, Japan I Tools <) o Main lines and characters: G-pen tip, Maru-pen tip for fine areas (Zebra) . Rough sketch: mechanical pencil (B or softer) The matching colors and fashion suggest the relationship between the characters 118
  116. 116. , / ,'."";t"{' //
  117. 117. /ffir'///// /ti,/; ,m'{ i'''f1,i,oi!!' : The wrinkles of the soft clothing flow from the pads that protrude the most, especially in the case of females. You can convey female-like roundness if you think about the three-dimensional surface of the lower body when drawing the outlines of the pattern of the slacks. (: Tone usage on the body creates the sensation of light while also generating a healthy and cheerful mood This is a cheerful, fun composition. By drawing a zany moment, readers can imagine the mood of the characters after the jump is completed. The inflected body lines and the shadows expressed in places using tones generate the weight and presence of the bodies of the characters. The tone used along the bodies simultaneously creates the sensation of the sun shining down from the upper right. The secret to the freshness of this scene is the casual way it catches the characters jumping toward the sun and light. a MikiMurakawa l) Birthplace: Yokohama City, Kanagawa Prefecture, Japan Representative work: "J-league Hero Retsuden" in Weekly Shounen Magazine, "Lineker Story," "Takagi Takuya Story," "Kawaguchi Yoshikatsu Story," etc. <) Tools t . Main lines and characters: G-pen tip (Zebra) . Background and effect lines: Maru-pen tip (Zebra) . Rough sketch: mechanical pencil (Pentel Hi-Polymer, 28) { { 120
  118. 118. by Tomo Ohtake ---^r'* ) The pale colors and image composed of mostly white create characters that cut the space Using different hairstyles is one way to differentiate characters, but note that here a difference in "hair type" is depicted. Also note that both characters are looking in the same direction, but one character has moved just her eyes in that direction, while the face and body of the other character are facing that direction. This physically conveys a difference in how the two characters approach matters. The characters are simple and only slight tone is used for the shadows. The rock sufface drawn with a careful touch and the earth and horizon done in fine lines convey the aroma of the earth and create the sensation that the characters are one with the world. This gives rise to the unique transparency of the picture. <) Tomo Ohtake I Birthplace: Saitama Prefecture, Japan Representative work: "Hiite wa Tomoni Kurasou" Currently, working on commercial magazines <) Tools t . Main lines and characters: Zebra G-pen tip . Fine lines: Maru-pen tip . Rough sketch:mechanical pencil (0.5 mm, B) N) -. The mood of the character kneeling down on the ground is made possible because it was drawn properly at the ;i- i.- rough sketch stage. '" j)- - .> Using the tones sparingly while having them overlap the border lines create a luster of faint light. 122
  119. 119. #i' ff il :$ .$ ii /,, .-- r *= ) ,-*' -& ----' r' -
  120. 120. The texture of the black cloth is conveyed by making the part reflecting light white. Leaving it white gives the material a lustrous look. ln general, black is depicted using gradiated tones. Here the cloth is on the hard side, simple, and refined. The steps taken when drawing a picture differ depending on the person. It is impossible to draw a rough sketch from the outset that approximates the final drawing if you do not have a clear image before you start drawing. 124 rul/ 1 The contrast between black and white creates a mysterious flavor The female is characterized by "black" with use of long black hair and a black skirt. ln contrast, the male is characterized by "white." Even though the scheme is simple, the balance of black on the female gives the picture a mysterious flavor. The slight tilt of the head and one paftially closed eye give the female a 'look of bashfulness and bewilderment. The male with his right hand behind his back and a straight posture gives a refreshingly confident impression. I Komachi Senngoku <) I Tools l . Main lines and characters: G-pen tip o Fine lines: G-pen tip . Rough sketch: pencil or mechanical pencil (0.5 mm, 28)
  121. 121. 'Jl The tied ribbon is used for accent. The flow of the hair conveys that it is tied up. Scattered light is depicted by mixing white and dotted lines throughout the picture including the hair and bracelet. The composition, facial expressions, and calculation based on a concept create a brilliant picture The concept here is two happy-looking characters in the light. The festive mood relies on the depiction of the characters including their composition and facial expressions and the flowing hair. The sun shining down from the upper left is presented by painstakingly drawing the details including the hair and clothing. The impact of the characters in the picture increases as a result of minimizing the half-tone shading used for the skin and presenting a clear contrast between black and white. i Rio Yagizawa <) Birthplace: Tokyo, Japan Representative work: "Senjo de...?!" and "BackAttacker" t Tools t o Main lines and characters: Zebra G-pen tip . Fine lines: Zebra Maru-pen tip, Tachikawa Kabura pen tip (aluminum) . Rough sketch:pencil, mechanical pencil (0.3 - 0.7 mm, B)
  122. 122. ) 6 _/ l, - l( VZ-:>)t r -l^'€'', ) :.-i v/_ r,G( o wawV^ ,- ,/ .) v iii.li.l :iin
  124. 124. tililillJll ISBN4 ,ffi[l[ffi||ilililil]ll ililil|ltil 1 12412 -7661-1241-5 ar,/ i.', .:{. HEALESVILLE ........ 5962 4423 LILYDALE 92943120 MONTROSE ......... ... 9728 4224 MOOROOLBARK . -.. 9726 8200 MT EVELYN ............ 9736 3851 RANGES MOBILE .. 9754 7266 VALLEY MOBILE .... 9294 3120 YARRAJUNCTION 5S67'I588 I FTG .............. ....,,:-:.l2g1gl9 KNOX MOBILE..... ...9762 4099 ROWVILLE .............' 9294 1300 CRoYDON .............. 9294 5640 RiNGWooD ............ 9870 0177 eeLoRave ............. 9754 7266