EASTERN REGIp!n! !!eilaflrg lt

wT#uuryy.]H[J

OUPIE

Hikaru Hayashi

Collect all volumes of the excitingHOW TO DRAW series.

FEMALE CHARACTERSlsBN4-7661-1 146-X

BISH0UJO Around the WorldlsBN4-7661-1 1 49-4

COUPLEStsBN4-7661 -1 241 -5

ILLUSTRATING BATTLESlsBN4-7661 - 1

',t 47-8

OCCULT & HORRORlsBN4-7661-1 150-8

MALE CHARACTERSlsBN4-7 661 -1 240-7

BODIES & ANATOMYlsBN4-766 1 -1 238-5

MAKING ANIMElsBN4 7661,1 239-3

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BISHOUJO - Pretty GalslsBN4-7661-1 148-6

I{OWTODRA$/

Gouples

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

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First printing: November 2002

ISBN: 4-7661 -1 24 1 -5

Printed and bound in China

r{owToDRA$/

Couples

Table of GontentsGhapter 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 ..........................13Various Couples ............14

1. The female is taller than the male ............................142. The female is smaller than the male......... ................14

Reason for making the height of the male andfemale characters different ................16

Chapter 2 From Dating to Making Love ....r2Dating: 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..... ....................202. 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 .................26b. Same-sex c0up|e............. ..............28

c. Rear view ...............297. Arm over shoulder.......... ..................30

a. Carrying arm on shoulder .....................................30b.Arm behind back............... ............31

c. Two males ..............32

d. Two females ...........33

8. Placing hand on shoulder.......... ........34

9. Wrapping arm around waist ....................................36Sitting ........... .......,........3B

1 . Sitting across from each 0ther...............,.,.,,............38o Side/normal view............... ..........,.38. View from behind one of the characters ..................39o 0verhead view............... ................40

2. Sitting side by side..... ......................423. Sitting close t0 each other....... ..........44

Hand actions.. ...............46

1. Contact between hands ............. .......46

2. Touching the face or head ........... ............................47Facing Each Other & Looking into Each 0ther's Eyes ....48Looking lnto Each Other's Eyes: Variati0ns ................50Two Characters Cuddling ....................52Grabbing or .Embracing From Behind.........................54

Reaching over the arms.............. ....,...54

Reaching under the arms..........................................55Female embracing male from behind..,.,.,.................56Male embracing male from behind.......,.....,..............58

Female embracing female from behind .....................59Pulling a Character to 0neself & Clinging to a Character....60

Embracing...... ...............62

Thickness of trunk and length of arms......................64Trick to drawing a couple embracing ........................66Presenting the faces of both characters .................... 67

Two males embracing..... ....................68Two females embracing ................,...,.69Body anatomy learned from two people embracing .,70

Kissing Scenes........... .........................72Composition of kissing scenes ............72

Male giving female a kiss .................,,......................74Female giving male a kiss......................,,.................75lmmediately before a kiss .......................,.................76

How to draw kissing scenes ...............77Kisses Aimed at Places Other Than the 1ips.,.,,.^.......78

1. Kissing the forehead.... ............,........78

2. Kissing the eyelid........ .....................793. Kissing the wing of n0se........... ........80

4. Kissing the chin.......... .....................81

5. Kissing the cheek ............................826. Kissing the ear........... .....................84

7. Kissing the neck......... .....................85Bedroom Scenes.......... .......................86

1. Sleeping side by side .......................80

3. lnterlwined ...............904. One character on top of the other: changes in bodies

caused by weight of the character on t0p..................92

5. Couple in the mood..... .....................946. Bonus ..,...................96

Putting on a Ring........... .....................98Sitting Erect 0n One's Knees Side by Side (Stiffl .......99

Weddings...... ..............100Dress and Tuxed0....,...... ...................100Kimono .......................102Picking up in Arms..... .......................104Male picking up female...... ...............104Ma1es............. .............106Females :...........................................1 07

Back of the Head ........108

Ghapter 3 Techniques of Manga Artists..rogBattery Couple (Picher & Catcher)

byTakehiko Matsumoto ....,,..,...........110Pure 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.,,.,..................118Healthy Couple by Miki Murakawa ................... .,.....120Crystal Lovers by Tomo 0htake ........... ..............,.....1 22

Mysterious Nuance by Komachi Seng0ku........ ........124Happy Lovers by Rio Yagi2awa..........................,.,,..1 26

Chopfer ITheory

DrcN,vingBehindCouples

$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

Make tie crotch height the same forcharacters 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-lineof 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. Onedfiem may end up standing out (afloat).

The male looks realistic whendrawn to match the female.

The female has long legs whendrawn to match the male.

7

@ Draw either the male or the female first.

Head-to-body ratios

1 t010

When the characters are embracing or linedup behind each other, the two blocks combinethereby forming a pillar.

ilave the bodies "pedorm" even when a bust shot is used

TTting fie head or changing the direction or inclination of the upper body addslife 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.

The height difference should be anywhere fromhalf a head length to a full head length,

Type 1: Half a head length

lype2: Full head length

'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

5I;l#l,TJfiIl:;iT:fi1ff :?,nill til:,, (!

[, -,'A

It)/ T_ hrr

Females have breasts, but thebreastplate itself is thin, and

the buttocks stick out.

Males have thick chests and

the buttocks do not stick outfarther than the shoulders.

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

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 waistor chest of the girl.

l-YtLt

),r(fut

(

rf)

a-\

-'he female is smaller than the male

,u'",". $0 male and female are Of

rrr :are height, the female

tlr":*-- ce ends up surpassing thatn

.:e nale.

.=s'Vrz

\ -/ l-\-- ,<^I -,

15

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 thepresence 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.

at\

ililll

Height difference makes for

a balanced picture.

\-I(

16

Chqpfer 2Frcm Dqting

io Mokirrg love

---xr tl.',, $

rJ-vnN

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 takinga video or picture when

drawing.

View from near the ground

*Er.t-'o one of the charactersrffi 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

Pay attention to the position of the feet when drawing a

side view of a couple walking side by side.

ABYou 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".

' flflu]lill llllu l ilrrro:r rrrli]Sn drawing a pairlill|il|lillilltlililllllli :nil]mm Ir i,jt.

You can use the concept ofperspective.

.\

ffiffiffitare smaller than Iis about 1.5 times I

I

_-_)21

thickness

wffi ffiThe width and thickness of femalesthose of males. The width of malesthat of females.

The human body is akinto a block. Two people

side by side form

_ something akin to a wall.\.--

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

.,, 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 atthe wrist or top of the hand.

Here is a hand held by the female.The male supports the female hand.

/--]--

,//z 4

#(r<\(hd N),

it,'r/ /

pulled with great force.

4. Female holding onto male while walking

[0,1-\\

\\ ]

t:ll r

't 4la

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

,ml :xmae being pulled by male while walking

\

The male does not lean

foruard that much.

The character will look relaxed ifyou 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 beingpulled along if you tuckthe chin in slightly or

raise it up.

The female will look

like she is resisting ifyou lilt the head

backward or forward

to a large degree.

'itllllllrrril,'llllllllll' ..lllllll$

iltl"illiliilltl|lilllll illl fl'nrill]]: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

ln order to make it look like the

character is leaning completely

on the other (i.e. clinging to thearm), consider the followingpoints.

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.

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 toward1!ilr, fillllltlulflutltur rc *lll appeartossiffir'lil1ili1ttllfli.t:litt lg5lTful'

The shoulder line of the femaleslopes toward the male.

Holding affectionatelyleaning on the male

The hips are square. Raising the shoulder ofthe female and sticking out the elbow willmake her look energetic and boisterous.

You can portray a quiet

but strong-willedfemale by giving hernaturally relaxed,

sloping shoulders and

supple arms.

I

I

rl ,\('

I

I

ln the case of same-sex couples, use thehands to express "hanging on and notletting go" 0r "not wanting to pad."

Leaning the head and body on the otherparty emphasizes the nuance of nestling

close.

/r

)

Gripping firmly and locking expresseshidden intentions or resolve.

I

Not only crossing the arms but alsogently overlapping the hands

expresses the feeling of wanting totouch as much as possible.

area of contact aside of simply holdinghands portrays a delicate relationship.

''o,ng to arm while walking

ln the case of males,

their hips do nottouch even if theirshoulders touch.

-'e hips of two males are fafther apart than:ose of a male and female.

{\

+1i

\t:l

T',/*,

The hips of a male and female are apart.

(

iN\i\

)I

The hips of two females touch.

l

ii

i-\):l

;

*.d.1\,

,\

(,. )

^

',,

t

\/V

I.\l-

(

\

)

,'i \)

ry

I

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

Ar11r1l[[]1fl1il'' q :€ shoulder slightly

.\- \L \,,\i)

lII

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

-\\ J/

(r.,,*-{

t\\I

, ,),/lIrl

l

/-l

)

36..\--

You can easily change the

mood of a scene with a couple

walking along nestling close toeach other by changing theposition 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 hip37

e,D'aID5--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

-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-shouldershots, the eyes of the twocharacters should be the sameheight.

Make the head of the character in the foreground large. Thecharacter in the background should be 1/3 the size of thecharacter in the foreground when the character is some distanceaway and aboutl12 the size when the character is a litfle closer.This is a matter of camera work and presentation, so contrast thetwo to your own taste as the need arises.

The trick is to draw the parl of the head outsrde the framethat is not visible as well.

-lI

i

,"*"

The female opposite is leaning fonruard. Make the face

39

T0verhead viewln the case of an overhead view, draw the table

before drawing the characters. When thecharacters are facing the table squarely, thehorizontal 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

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

\\ \_ I /\sY /t.->J. \ /w'--=..------,

Side/normal angle

Giving the female shrugged shoulders will make her

lf you draw the upper body so

that the shoulder line slopes

toward the other character, itwill look like she is leaning on

him.

The female isleaning

toward

male.

: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 aouple supporting each other (teaning ;, ;r;h ;;;j.

)45

Drawing male and female hands

Draw an oval and The female hand

then add fingers. is oblong withslender fingers.

Draw a square

and then add

fingers.

The male hand is

wide with thickfingers.

46

i. Touching the face or head

1,'.lrtl \'r 1r! l \! \!

\; \., \i'<;-\-t

il\ln,r,.

t:;, t;

/r.h\lNa

The angle of the cross(face) is the key.

,)

(

The woman is tilting her

head a bit.

l- ))

\

Close-up

E=*-Zl)W

/\

''r\

\

-N\?

tu- ril,w

Wide angle

0verhead type

Normal angle

r-

Close-up

Wide angle

Slightly low angle

Sl,arih" overhead angle

There are a variety ofbody gestures.

The chin of the female ispulled in.

It,:., I....

',

Normal angle

i

i/\4".- \> x\-\

7(

{F.) ',,,

lrzr, ng the same pose using a variety of different compositions.

N

You can express passing of time by switchingbetween close-ups and wide angles using thesame pose,

lormal angle

Slightly overhead angle

53

Slightly tilting the head will create

a romantic mood.

Drawing the chin in and raising theshoulders will create a disquieting mood.

The key to a naturalpicture 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 itlook like the character wants toescape.

Ibrq-:'-

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.

Ptacing the hand over another

Wrapping arms

around the neck

\)

Draw the character being embraced first and then the other.

Difference in the flow of the chest and bodylines between males and females whenbodies are pressing against each other,

Softness of fatin the case of

females

;L

lt

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 suddenlypulled toward another, the

normal response is to grab

something nearby to supportyour 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.

tI

.,t:[i:::

1-',

AN

The illustrations below are various hands placed on the chestof the male. Bending the fingers at different angles conveysa feeling of warmth.

A closed hand expresses heightenedemotions. Pay attention to the angle ofthe upper arm as well.

Shrugged shoulders and pointing thetoes inward emphasize the idea ofclinging to someone.

61

Choose the floor line beforeyou start drawing the fulllength 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 stickthe trunks together.

-":r:::-r:s

,aa--

\-5fl--

- \.'t. /\X-

II

:': jecide on the compositionrr :-e -rawing according to the-,r"1-: drfference.

--:r make the crotches the.,a=e height and work from:- a-e,

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 ofit's thickness.

The female has to open up

her arms to match the widthof 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 elbowjoints 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 toclasp hands

'--{r--

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 faras 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.

O Draw a rough outline. @ Make the stomachs flush.

The male's face is in front.

li will look like a sumomalchl

When the stomachs are apart, you end up

with a different type of picture.

The female's face is in front.

:":senting the faces of hoth

4\'-1 ! ,if

:eVrd --\

1

-t /l.t\

)l,i

l\/l"il-, )\-:

i

,//,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.

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

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.

Convey the thickness

of the body in the

case of two males. r-

71

Many kissing scenes are a

combination of a face viewed

from above and a face

viewed from below.

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At least one of the characters has to tilt the head.

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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

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Female giving male a kiss

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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 atthe center of the face.

1 The trick is to confirm the position of

V the mouth even if it is not visible.

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The mouth is not visible from this angle.

Confirm the overall contour and position of the mouth.

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1. Forehead

2. Eyelid

3. Wing of nose

4. Cheek

5. Chin

6. Earlearlobe

7. Neck

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ln the case of the back of the head, express the direction ofthe face using the shape of the ear (See page 108). 83

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7x' sudace.@ Draw boxes on top of

the bed.

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@ Draw the bodies based

on the boxes.

86

'iolding hands

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This portion of the head

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sinks into the pillow.

A composition for indicating the

situation. The more you try to drawthe 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 differentfrom those when nude.

ln the case of the male body, there will be no

major physical change regardless of whetherthe 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.

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.

-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.

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91

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

Male on top of male

d,ir

Female on top of female

When the faces (heads) drawnearer, the bodies inevitably

come closer. Think of either

bringing the heads nearer orcrossing them.

Relaxed facial expressions, as

well as hands and feet, willhelp depict two characters whohave opened their hearts to

each other.

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Female and female

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Sitting erect on their knees in

a stiff manner.

(-- ---\Rear view of characters sitting erecton their knees

' ,/rr;,urderand/ knee lines are

gg'The male will lookproud with the

elbows out,

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You cannot see the

arms when they are isitting in a stiff manner.l

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Normally, the elbows can be

Flared-type dress

The skirt widens like a trumpet.

Mermaid-type dressThe line from the hips is

smooth and widens at the

hem.

The heels worn under a wedding

dress should be simple.'100

r

=..:xedos worn at weddings are often white.

Bride's hood on her coiffure

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be about the same

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Chopter 3Techniques of Mongs

Ailists

the wrinkles of the clothing, the "thin chest of 7females" 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 thedeformation of the picture's composition and solid expressionof 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 IBirthplace: Shizuoka Prefecture, Japan

i Tools t. Main lines and characters: G-pen tipr 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

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by Yasuo Matsumoto

The pattern on the female's pants are froma 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 ifyou partially use patterned

tones. For the shadow of the

hand on the ankle, draw acurve 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 ofcuddling 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 iBirthplace: 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

7(,,

The reality created by clearly drawing thedetails, including the necktie pattern, thecup, and the hamburger wrapping, is an

important element for drawing the readerinto fictitious story.

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Conveying the presence of the two characters begins withcapturing the individual human beings-Contrast everythingusing 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 itcould make readers feel uncomfortable. However, the fashion based on theinner characteristics of the individuals adds depth to the world being depicted inthe picture. The blank expressions of the characters give a cheefful mood to theoverall picture, but the hands placed casually on the wrist and shoulder suggestthe fearless personality of the boy in the back as well as the relationshipbetween the two characters.

I Kent Simazaki <)

Birthplace: Kanagawa Prefecture, Japani 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)

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114

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Make the shadow of the breasts sharp and

boldly solid using black. By doing this, you

can simultaneously express the pliability ofthe material of the clothing and sexiness.

Note that the use of black(depicting reflection) on theshoulders and the side differsfrom 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 actionsand expressions convey at a glance the world, the characters, and theirrelationship. This is fundamental to drawing comics and also the most importantaspect. Additionally, the hand and foot adornments and adornments indirectlycapture the personalities of the characters, their relationship, and the world. The

fact that the two characters have absolutely nothing in common is just one ofthe many aspects that stimulates the imagination of readers.

I Kazuaki Morita ABirthplace: Shizuoka Prefecture, Japani Tools t. Main lines and characters: mainly Zebra G-pen tip. Fine lines: Maru-pen tip. Rough sketch: mechanical pencil (0.3 mm,28)

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Merging the border line of the cuff withthe black on the body of the other

character is one technique. There is atendency 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 flatbreastplate line conveys a boy ofslight 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 shirtsare not exactly the same, but they have a similar "feel." This presentation ariseswhen 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 IBirthplace: 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 relationshipbetween the characters

118

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The wrinkles of the soft clothing flow from thepads that protrude the most, especially in thecase of females.

You can convey female-like roundness ifyou think about the three-dimensional

surface of the lower body when drawingthe outlines of the pattern of the slacks.

(\:

Tone usage on the body creates the sensation of lightwhile also generating a healthy and cheerful mood

This is a cheerful, fun composition. By drawing a zany moment, readers canimagine the mood of the characters after the jump is completed. Theinflected body lines and the shadows expressed in places using tonesgenerate the weight and presence of the bodies of the characters. The toneused along the bodies simultaneously creates the sensation of the sunshining down from the upper right. The secret to the freshness of thisscene is the casual way it catches the characters jumping toward the sunand light.

a MikiMurakawa l)Birthplace: Yokohama City, Kanagawa Prefecture, JapanRepresentative work: "J-league Hero Retsuden" in Weekly ShounenMagazine, "Lineker Story," "Takagi Takuya Story," "Kawaguchi YoshikatsuStory," 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

by Tomo Ohtake

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The pale colors and image composed of mostly whitecreate characters that cut the space

Using different hairstyles is one way to differentiate characters, but note thathere 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 thatdirection, while the face and body of the other character are facing thatdirection. This physically conveys a difference in how the two charactersapproach matters. The characters are simple and only slight tone is used for theshadows. 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 thatthe characters are one with the world. This gives rise to the unique transparencyof the picture.

<) Tomo Ohtake IBirthplace: Saitama Prefecture, JapanRepresentative 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)

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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)- -

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Using the tones sparingly while havingthem overlap the border lines create a

luster of faint light.

122

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The texture of the black cloth isconveyed by making the part reflectinglight white. Leaving it white gives thematerial a lustrous look. ln general, blackis depicted using gradiated tones. Here

the cloth is on the hard side, simple, and

refined.

The steps taken when drawing apicture differ depending on the person.

It is impossible to draw a rough sketchfrom the outset that approximates thefinal drawing if you do not have a clearimage before you start drawing.

124

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The contrast between black and white creates a mysteriousflavor

The female is characterized by "black" with use of long black hair and a blackskirt. ln contrast, the male is characterized by "white." Even though the schemeis simple, the balance of black on the female gives the picture a mysteriousflavor. 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 hisback and a straight posture gives a refreshingly confident impression.

I Komachi Senngoku <)

I Tools l. Main lines and characters: G-pen tipo Fine lines: G-pen tip. Rough sketch: pencil or mechanical pencil (0.5 mm, 28)

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The tied ribbon is used for accent. The flowof the hair conveys that it is tied up.

Scattered light is depicted by mixing whiteand dotted lines throughout the picture

including the hair and bracelet.The composition, facial expressions, and calculationbased 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, JapanRepresentative work: "Senjo de...?!" and "BackAttacker"

t Tools to 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)

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