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EASTERN

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Hikaru Hayashi

Collect all volumes of the exciting HOW TO DRAW series.

FEMALE CHARACTERS

ILLUSTRATING BATTLES

lsBN4-7661-1 146-X

lsBN4-7661

1

49-4

COUPLES tsBN4-7661

-1 241

',t

BISHOUJO - Pretty Gals

47-8

lsBN4-7661-1 148-6

OCCULT & HORROR

BISH0UJO Around the World

lsBN4-7661-1

-1

BODIES & ANATOMY

lsBN4-7661-1 150-8

lsBN4-766

MALE CHARACTERS -5

lsBN4-7 661

-1

1

-1

238-5

MAKING ANIME lsBN4 7661,1 239-3

240-7

Distributed by

Distributed Exclusively

NIPPON SHUPPAN HANBAI INC.

in North America by

4-3 Kanda Surugadai,

DIGITAL MANGA DISTRIBUTION

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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)3-3233-41 06

Fax: (31 0) 604-

E-mail: [email protected]

E,mail: [email protected] URL:

1

1

34

http://www.emanga, com/dmdr

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 Drawing &

Production:

1

02-0073 Japan

Yasuo Matsumoto, Jun Matsubara, Kento Shimazaki, Miki Murakawa, Tomo 0take, Rio Yagizawa, Kiyoe Yokoyama, Komachi Sengoku

drawing: Reference work:

Cover

Scenario: design: edition layout:

Composition &

Rio Yagizawa

Jun Matsubara,Yasuo Matsumoto, Miki Murakawa, Kento Shimazaki, Tomo otake, Komachi Sengoku, Takehiko Matsumoto, Riho Yagizawa, Kazuaki Morita Hikaru Hayashi (Go 0ffice)

Main title logo

Hideyuki Amemura

English

Shinichi lshioka

English translation management: L[ngua fr6nca, lnc. ([email protected])

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

INC, 4-3 Kanda Surugadai, Chiyoda-ku, Tokyo 101-8710 Japan Tel: +81-(0)3-3233-4083 Fax: +81-(0)3-3233-4106 NIPPON SHUPPAN HANBAI

E-mail :

[email protected]

Distributed Exclusively IN NOTthAMET|CA bY

Digital Manga Distribution 1123 Dominguez St., Unit "K" Carson, CA 90746, U.S.A. Tel: (310)- 604-9701 Fax: (310)- 604-1134

E-mail: [email protected] URL:http://wvw.emanga.com/dmd/

First printing: November 2002

ISBN: 4-7661 -1 24 1 -5

Printed and bound in China

r{owToDRA$/ Couples

Table of Gontents 1

Ghapter

Theory Behind Drawing Gouples........s

Couples Height Difference ........,.........

Theory Behind Drawing

Female embracing female from behind .....................59

...........6

Pulling a Character to 0neself & Clinging to a Character....60

..............1 0

...............62 Thickness of trunk and length of arms......................64 Trick to drawing a couple embracing ........................66

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

Embracing......

Presenting the faces of both characters .................... 67

embracing..... ....................68 embracing ................,...,.69

Differentiation of Same-Sex C0up|es.........................'l 2 Basic Male and Female Body Types ..........................13

Two males

Various

Body anatomy learned from two people embracing .,70 Kissing .........................72

Couples

............14

............................14 2. The female is smaller than the male......... ................14 Reason for making the height of the male and female characters ................16 1. The female is taller than the male

different

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

side..... walking 3. Pulling arm while walking .......... '1.

Walking side by

....................20

2. Holding hands while

.............22 .......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

couple c0up|e............. c. Rear view 7. Arm over shoulder.......... b. Same-sex

..............28

...............29 ..................30 a. Carrying arm on shoulder .....................................30

back............... ............31 c. Two males ..............32 d. Two females ...........33 8. Placing hand on shoulder.......... ........34 b.Arm behind

Sitting 1

.

...........

....................................36 .......,........3B

Sitting across from each 0ther...............,.,.,,............38

o Side/normal

.

view...............

View from behind one of the characters

..........,.38

..................39

view............... ................40 side..... ......................42 3. Sitting close t0 each other....... ..........44 Hand actions.. ...............46 1. Contact between hands ............. .......46 o 0verhead

2. Sitting side by

2. Touching the face or head ...........

Scenes...........

scenes

Composition of kissing ............72 Male giving female a kiss .................,,......................74 Female giving male a kiss......................,,.................75 lmmediately before a kiss .......................,.................76

scenes ...............77 1. Kissing the forehead.... ............,........78 2. Kissing the eyelid........ .....................79 3. Kissing the wing of n0se........... ........80

How to draw kissing

Kisses Aimed at Places Other Than the 1ips.,.,,.^.......78

chin.......... .....................81 cheek ............................82 6. Kissing the ear........... .....................84 7. Kissing the neck......... .....................85 Bedroom Scenes.......... .......................86 1. Sleeping side by side .......................80 4. Kissing the 5. Kissing the

.................26

a. Male and female

9. Wrapping arm around waist

Two females

............................47

3.

lnterlwined

...............90

4. One character on top of the other: changes in bodies caused by weight of the character on t0p..................92

mood..... Bonus Putting on a Ring........... 5. Couple in the 6.

.....................94 ..,...................96 .....................98

Sitting Erect 0n One's Knees Side by Side (Stiffl .......99 ..............100 Dress and ...................100 .......................102 Picking up in .......................104 Male picking up ...............104 .............106

Weddings...... Tuxed0....,...... Kimono Arms..... female...... Ma1es............. Females :...........................................1 07 Back of the Head ........108 Ghapter

3 Techniques

of Manga Artists..rog

Battery Couple (Picher & Catcher)

byTakehiko

Matsumoto

....,,..,...........110

Facing Each Other & Looking into Each 0ther's Eyes ....48

Pure Lovers by Yasuo Matsum010......,,,...................

Looking lnto Each Other's Eyes: Variati0ns ................50 Two Characters ....................52 Grabbing or .Embracing From Behind.........................54

Brothers by Kent

Reaching over the

Healthy Couple by Miki Murakawa ................... .,.....120 Crystal Lovers by Tomo 0htake ........... ..............,.....1 22

Cuddling

arms..............

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

Shimazaki

1 1

2

..............114

Hunter Couple by Kazuaki M0rita ...,,.,...,,................1 1 6 Boys in the Mood by Jun Matsubara.,,.,..................118

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

Chopfer

I

Theory Behind DrcN,ving Couples

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Even when drawing same sex pairs,

height differences facilitate imparting roles and moods since the picture becomes more lively.

6

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

@ Draw either the male or the female first.

ffir

draracters will have long legs and look cool if you mtw he female to match the waist of the male. Head-to-body ratios 1

t

t010

difficult to draw men and women sidery+*le when different styles are used. One rs

dfiem

The male looks realistic when drawn to match the female.

The female has long legs when

drawn to match the male.

may end up standing out (afloat).

7

When the characters are embracing or lined up behind each other, the two blocks combine thereby forming a pillar.

ilave the bodies "pedorm" even when a bust shot is used fie head or changing the direction or inclination of the upper b fie expressions of the characters and the mood.

TTting

life

body adds

I

Characters are closer to each other.

Characters are away from each other.

Cocking of the head.

The female's shoulders are facing

outward,

Both bodies are tilting

The female s upper body is tilting inward (toward the male).

inward.

The shoulders of both characters are facing outward.

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

Bending over slightly.

'1.

Presentation when there is little height ditference

Standing on toes

/

2. Presentation when there is large height ditference

Sitting the male

down

Standing on pedestal

\__

Bending down

Sweeping off feet

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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.

( !

I I

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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

Small males have a largish head, a thin neck, a thin breastplate, and thin arms and legs.

breasts and buttocks are not substantial.

13

You can create a variety of pairs and couples by

A pair consisting of a boy and his older sister.

deformation of the height difference.

The boy is smaller than the girl. The boy often comes up to the waist or chest of the girl.

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-'he female is smaller than the male

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male and female are Of

rrr :are height, the female tlr":*-- ce ends up surpassing n

.:e nale.

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The shoulder line of the female slopes toward the male.

her.

rean toward

rc *lll appearto lg5lTful'

Holding affectionately leaning on the male

I I

rl ,\(' 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 I

but strong-willed female by giving her naturally relaxed,

I

sloping shoulders and supple arms.

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.

)

I

Gripping firmly and locking expresses hidden intentions or resolve.

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.

/r

''o,ng to arm while walking

ln the case of males, their hips do not touch even if their

shoulders touch.

The hips of a male and female are apart.

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hips of two males are fafther apart than of a male and female.

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The hips of two females touch.

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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.

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34

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Hand placed lightly on the shoulder

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Hand dangling over shoulder

:€ shoulder slightly

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

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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.

)

=ront view of hand

I

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Hand placed lightly on hip

Hand placed casually around hip

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l(

Top view of hand on hip

37

e ,D'aI

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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.

^0 L

Presentation of hands when two characters are sitting across from each other

lnterlwined fingers

Hands overlapping

Tips of fingers touching

View from behind one of the characters

-l I

i

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 female opposite is leaning fonruard. Make the face

-ne camera moved from position O to position @. llove the heads closer together. The trick is to draw the parl of the head outsrde the frame that is not visible as well.

39

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

Type C

The character is leaning back on the seat.

The character is leaning back.

Low angle shot

Vanishing point

Drawings are often trimmed in the case of low angle shots.

41

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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, it will look like she is leaning on him.

The female is leaning 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 a ouple 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 with

46

slender fingers.

Draw a square and then add fingers.

The male hand is

wide with thick fingers.

i. Touching

the face or head

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