mVw S,

_e —
Sa
{ i

Draw Like the Experts

Erotic Manga
 Digitized by the Internet Archive
in 2021 with funding trom
Kahle/Austin Foundation

httos://archive.org/details/eroticmanga0O000unse
Erotic Manga
Ikari Studio

~
eo:

ia
EROTIC MANGA
Copyright © 2006 by COLLINS DESIGN and mao mao publications

All rights reserved. No part of this book may be used or reproduced in any manner whatsoever,
without written permission except in the case of brief quotations embodied in critical articles and reviews.
For information, address Collins Design, 10 East 53° Street, New York, NY 10022.

HarperCollins books may be purchased for educational, business, or sales promotional use.
For information, please write: Special Markets Department, HarperCollins Publishers,
10 East 53” Street, New York, NY 10022.

First Edition:
Published by maomao publications in 2006
Via Laietana 32, 4.° Of. 104
08003 Barcelona, Spain
Tel.: +34 932 687 270
Fax: +34 932 680 425
[email protected]
www.maomaopublications.com

English language edition first published in 2005 by:

Collins Design
An Imprint of HarperCollinsPublishers
lo East 53” Street
New York, NY 10022
Tel.: (212) 207-7000
Fax: (212) 207-7654
[email protected]
www.harpercollins.com

Distributed throughout the world by:

HarperCollinsPublishers
io East 53” Street
New York, NY 10022
Fax: (212) 207-7654

Publisher:
Paco Asensio

Editorial Coordination:
Cristian Campos

Translation:
Antonio Moreno

Art Direction:
Mireia Casanovas Soley
Layout:
Zahira Rodriguez Mediavilla

Library of Congress Control Number: 2006922906

ISBN-10: 0-06-089322-2
ISBN-13: 978-0-06-089322-4

Printed in Spain

Second Printing, 2006

 Table of Contents

Introduction 6 Chapter 6: Adventurers

Treasure Hunter 192
Chapter 1: Delicacies Pirate i98
Candy Girl 2 Gangsters 206
Chocolate Boy 18 Queen of the Street 212
Sweet Tart 24 Cave Woman 218
Lovin’ Spoonful 30 Virtual Reality 226

Chapter 2: Parodies Chapter 7: Fantasy

Magical Girl 38 Sweet Angel 23h
Knight 42 Elf Sorceress 240
Mecha 48 Princess 246
Ninja Sh Slime 252
Sentai 60 Warrior 258
Monkey King 264
Chapter 3: Professions Ogre 270
Maid 68 Little Fairy 276
Farm Girl 7k
Mechanic 80 Chapter 8: Favorites
Pop Star 86 Dolly 286
Lifeguard 92 Siren 292
Nurse 98 Policewoman 300
Cowgirl 104 Shower Scene 308
Vamp 316
Chapter 4: After Class Perseus 324
Teacher 112
Volleyball Player 18 H Dictionary 332
Gymnast 124
Cheerleader 130
Basketball Player 13
Young Couple 142
Locker Rooms 148

Chapter 5: Horror
Ghost 156
Demon 162
Vampire Slayer 168
Witch 174
Invisible Man 178
Spider Woman 18%
Introduction
When westerners discover manga phenomenon for the first time, they are usually surprised by the variety within the genre. There's a
specific type of comic for any reader, whatever their sex, age, profession or interest. Thus, you'll find manga for children (kodomo), teens
(shonen for boys and shojo for girls), adults (seinen and josei, respectively), office workers, kitchen help, teachers, and a long list of
niche audiences which even includes technical manuals. There is also a type of manga with its own norms and sub-genres: erotic manga.

These subgenres all share various stylistic traits, such as their omnipresent, enormous eyes. Inspired by Disney, manga pioneer Osamu
Tezuka adopted this technique, since it makes characters more expressive. An approach to time that is very different than in western
comics, one which is capable of eternalizing even the most absurd actions, and clean stylistic lines, these last two being the result of the
sheer quantity of pages writers must produce each week to satisfy a market that is continuously demanding new products.

Problems with nomenclature

Not all manga is erotic. Often the western market has felt uneasy about sagas aimed at teens, such as Dragon Ball and Ranma, depicting
scenes that are more or less erotic. In reality, that supposed eroticism is more of a spicy touch than anything else, and rarely does it go
beyond a little nudism, which is generally accepted by the Japanese. Erotic manga, on the other hand, is a separate subgenre where you
can find whatever sort of eroticism or pornography imaginable. This explains why westerners use the word hentai meaning perversion to
classify these comics. What's interesting is that the Japanese choose to use the rather concise ju-hachi kin to classify the subgenre,
meaning prohibited to those under 18. This is where the nomenclatural problems begin, because in Japan they also refer to erotic and
pornographic manga as etchi (also the more common ecchi outside Japan), or simply H. In fact, ecchi is the pronunciation of the letter H,
thus explaining its name.
It’s believed that the name “H” came about in the 60s when editors needed to find a word to categorize these publications. It’s also
believed that they began using this letter since it was the initial for hentai, but the truth is that even the Japanese aren’t sure of the exact
origin. To simplify, we'll say that in the west we call ecchi manga that which is more or less erotic and hentai that which is all-out
pornographic. The Japanese, however, don’t use the word hentai for the latter, but H. In fact, H has become so widespread that it is now
encompasses pornography in all of its manifestations. Think of the term otaku: in the west we use it to describe someone who is a “fan of
manga and anime,” but it’s a word with pejorative connotations in Japan and nobody would call themselves an otaku.

Legislation

There wouldn't be any legal problem with depicting sex if it weren’t for Article 175 of Japan’s Penal Code, which prohibits the publication
of anything that is considered “morally harmful”. This is where that curious self-censorship we've all noticed comes in; they don’t draw
genitals in Japan. Apparently, the Japanese consider it obscene to depict pubic hair (and to a lesser degree that of the armpits), as well
as the vagina and penis. Pornography and eroticism have maneuvered around this prohibition, which tends to result in heavy fines
and the closure of publishing houses, by taking a variety of measures. The most common being superimposing a mosaic or black
box over the areas in question. However, hentai has gone far beyond all that while avoiding prohibition. As we all know, need is the
mother of invention.

Basically, hentai would be just another style of manga (big eyes, pretty girls, more style than content) if it weren’t for its characters’
tendency to have sex wherever they are and in every position imaginable. Not to mention their strange fixation on graphically
representing body fluids. For example, comics usually, literally, depict women as slaves subject to nymphomaniac attacks that make
them lose control. In fact, H artists compete to see who can depict the most extreme, uncontrolled sexual situations.

With regard to censorship and to Article 175, hentai chose innovative solutions: from shoddy black strips to cover the prohibited body
parts which are usually eliminated when exporting the work, to silhouetting the masculine member in the bodily orifice. The famous
tentacles of Japanese monsters are nothing more than a strategy to fight censorship. Artist draw a demon instead of a monster, which
everybody knows is not human, and therefore doesn’t have a penis, but an infinite amount of suspicious looking tentacles, then there’s
nothing you can do to censor it. The same can be said about semi-anthropomorphic creatures: cat-women, fairies, and other creatures
from the realm of imagination, which don’t necessarily have the equivalent female anatomy.

* Oh, and demons with tentacles are based on traditional Japanese works (shunga, erotic variant of ukyo-e, the ancient Japanese pictorial
art) where women made love to octopuses.
Authors and publishers avoid major problems by drawing girls in a prepubescent manner. If girls look like they’re minors, it’s simply to
avoid drawing public hair, Apparently, to the average Japanese person manga girls look older than they do to the western reader. Finally,
there’s always a last alternative: add a bubble where the nymph confesses to be over thirteen, the legal age for consensual sex in Japan.
And that’s that, artistic license.

Genres

It’s time to look at the many genres within hentai. Since, as you might expect, plots are not the forte of any erotic genre, in hentai
they opt for specialization. The three main categories are heterosexual (or het), yaoi (male homosexuality) and yuri (lesbianism),
although heterosexual is the dominant category. We'll speak of yaoi afterwards, and yuri, as you might imagine, is aimed at a male
audience, although now there’s a debate in Japan as to whether yuri should represent any form of “female love” (shojo-ai), and not
merely carnal attraction.

Putting ecchi aside, and focusing on hentai, the most common variants are the same ones you'd typically find in the west: group sex,
fetishes,etc. Then there are variants which are purely Japanese: bukkake, futanari, lolicon and other surrealist styles, which involve
androids, demon, and fantastic females.

Finally, we should mention that hentai sub-genres are found outside manga and anime. They are also important for illustration books,
usually ecchi, of which U-Jin is the most famous author, and the so-called CGs (abbreviation for computer graphics), CDs and DVDs with
image galleries.

Mediums

As far as H manga is concerned, you can usually find it in magazines and, especially, on the enormous H doujinshi market. Doujinshi are
the equivalent of western fanzines and underground comics; in other words, self-published works without the backing of a publishing
house. Although the term doujinshi isn’t only used for manga: there are doujinshi anime films, games, and novels. Despite this compari-
son, doujinshi often lack the professional quality and it’s typical for authors to prove themselves in this genre before becoming manga
professionals. For example, CLAMP began as a group of doujinshi creators. Over the last twenty years, the doujinshi sector has grown
tremendously, and since it hovers somewhere between the mainstream market and amateur status, H doujinshi is afforded a little bit of
leeway. The most popular of which being the creation of high-voltage fan-fiction (pornographic parodies of famous manga characters).
Another is urabon, which completely ignores article 175, this is a position that carries a certain degree of permissiveness about it,
especially when you consider that since 1994 the stance on depicting genitals in Japan has relaxed noticeably. Besides, doujinshi gave
birth to a genre that we mentioned earlier: yaoi.

Yaoi

Yaoi is easily today’s most interesting erotic genre. Although speaking about homosexual erotic comics makes western readers think
about the associated paraphernalia. Yaoi is radically different, since it is not aimed at a homosexual audience. Get Tom of Finland and
Ralf Konig out of your mind: yaoi is for girls. The drawing style and characters look as if they were taken straight out of a shoujo manga,
and features ambiguous, androgynous boys, nearer to glam than muscle, with plots that don’t go beyond sickly-sweet romance and
soap operas for fifteen-year-olds. Yes, they do have explicit sex, but it strives for eroticism and sensuality more than your ordinary
festive hentai. At the least it’s curious.

The world of Japanese erotic manga is extremely diverse and goes from the stereotypical young girl with the perfect body and enormous
eyes to the least suspected sensuality, or deviations that would even make the Marquis de Sade turn pale. After all, it’s just another
Japanese artistic expression: a heap of curiosities, often incomprehensible, that somehow hopelessly attracts and fascinates us.

Javi Sanchez
Journalist
Delicacies Candy Girl
Chocolate Boy
Sweet Tart
Lovin’ Spoonful
Delicacies

We want the candy girl to transmit naivety, which does-

n’t have to limit the image’s eroticism. Quite to the con-
trary, a well-focused image can lead to a very interesting
and suggestive composition. A “candy-girl” is provoca-
tive, without being conscious of it. The contrast, between
the innocent character and the scene where she’s exhibit-
ing a very tempting body, creates sexual tension. She is
the typical childish lolita with a fabulous figure, showing
her natural gifts as if by accident.

In the sketches above, she is shown as a girl thrown or sitting on the floor.
She looks distracted as if lost in her own world, someone is spying on her.
The final sketch shows her in a relaxed, informal position with a hairstyle
that allows more room to play with the candy concept and her lolita look.
 1. Layout
Since she is sitting on the floor, it is important to pay
attention to how her legs lay on the surface. They should
be in line with the plane. If the floor is slightly inclined,
then her legs must follow that inclination. In reality, if
we align the legs from the start, it determines the loca-
tion of the floor and the viewpoint for the rest of the
drawing. Once you have that, everything located on the
floor should be relative to her legs.

2. Volume
For the same reason, the floor’s inclination requires us
to foreshorten her right leg. You can barely see the lower
half leg, because it’s hidden by her knee. The next step
is to we faithfully reproduce the way the thoracic box in-
clines when her shoulders are pushed back.
3. Anatomy
The figure’s head is round, with a large forehead and
big, round eyes to give her a childish look. Her bountiful
hair accentuates this look and helps balance the com-
position. The eyes are a very important detail because
of their innocent and distracted gaze. The nipples are
drawn as a reference, as this will later dictate the ribbon
placement.

We initially thought about the girl suck-

ing on her finger, but decided to slight-
ly reposition her hand and give her a
lollipop. In order to make the change,
we drew the lollipop, then the fingers
holding it so it seemed natural.
 4. Line Work
The loose ribbons covering the girl’s body capriciously
fall by their own weight, between her legs and off to her
sides. As they say, “it’s better to insinuate than to re-
veal”. The ribbons give her an air of playfulness, cover-
ing her private areas while allowing one to subtly
imagine the contours they're following.

Next add a few candies to the background

image to complement her. Draw them sep-
arately, taking into consideration prospec-
tive, with some foreshortening. In the end,
they should look like they're floating in air.
5. Lighting
Well-defined shading helps to better define the volume
of her hairstyle, as well as the wrinkles in her accesories.
Smooth contours and curves, with some highlights, give
the ribbons more texture—and give them the illusion of
gift-wrap.

6. Coloring
The candies in the background make for an entertaining
composition, but first prepare a colorful and dynamic
background with spirals. Then add the candies (de-
signed seperately), so they fill the free space around the
figure. Then finally drop her in the image like an excla-
mation point.
 7. Finish
This semi-nude presentation, barely covered by a few
ribbons, is an invitation to sin. Is she a present for some-
body? Who is she waiting for? The accessories send a
stronger message. They are elements that are closer to
gift-wrapping, than articles of clothing somebody might
wear.

©
oN
*
Delicacies

All the illustrations in the “delicacies” chapter share a

common philosophy: they are an invitation to enjoy the
given delicacy. The food is appetizing, the sweets tempt-
ing, and the characters are identified with part of the
offer. In the case of the “chocolate boy,” it’s more than
evident what he’s offering. His gesture and expression
convey it alone. He’s asking, “Would you like some of
this?”

His torso and abdominal areas are important in all of the sketches. The
one we've chosen has a good composition and makes better use of the
gaze of complicity he’s giving the observer before him. A six pack cov-
ered in liquid chocolate should look like a chocolate bar, so that he really
is a “Chocolate Boy”.
 1. Layout
Draw the figure leaning back, as ifhe were on some imag-
inary steps. His right hand and each foot should rest on
different plane levels, and the differences in height cre-
ate this effect. Then some reference lines, or look at the
previous sketch, to imagine the points of contact.

2. Volume
This illustration contains heavy foreshortening in two
places. The raised, left hand and the right knee are al-
most seen from the front, which makes their volume di-
minish considerably. It’s as if looking at a cylinder from
the front, the length of the arm is smaller and is hidden
by part of the hand. Something similar happens with the
leg, only that the prism is a cone and gets wider behind
the knee, and larger in the area nearest the hip.
3. Anatomy
The torso and abs are the focus of the drawing, which is
why they are more detailed, to highlight the size of the
muscles and anatomical elements. It is helpful to look at
photos of athletes to examine how their muscles flex in
different positions. However, be careful with excessive
detail because very realistic and detailed anatomy might
not look like manga.

The knee must be defined well in order to pre-

vent the leg from looking awkward when it is
foreshortened. A careful outline of knee-calf
connection allows for a natural look. The same
idea applies to the round volume of the flexed
biceps and how it overlaps the deltoids, which
is crucial when foreshortening his arm.
 4. Line Work
The character appears totally nude, pouring chocolate
on top of himself but without adapting a vulgar attitude
or pose. It’s important to remember there are elegant
ways of presenting this idea, respecting certain limits,
and portraying the situation with an eye towards mak-
ing it more friendly than aggressive. Drawing the face,
especially a friendly facial expression, helps make for a
more pleasant image.

In order to draw the chocolate wrapping

that covers his genitals and helps make him
look like a chocolate bar, start with a rec-
tangle that’s been crumpled like a plastic
bag. Then define the creases and the paper
that’s been ripped open at the top.
5. Lighting
The shading applied to his body helps define his mus-
cles, in addition to clarifying the light source. The choco-
late wrapping has great contrast and hard edges, marked
by the folds and wrinkles.

6. Coloring
We want to create an aluminum foil effect inside the
wrapping. To do this we can superimpose various twist-
ed shapes over each other in different shades of gray.
The shapes create wrinkles in the aluminum foil that,
when combined with shiny white, resemble metallic re-
flections from the inside of a candy wrapper.
7. Finish
We’ve complemented aspects of the drawing with the
help of flat colored contours, which makes the shapes
and volume more defined. In the final stages, add de-
tails like letters on the wrapper. While the letters are so
wrinkled they’re illegible, it’s obviously the name of an
imaginary chocolate manufacturer.

yun ,
i|
is
Delicacies

The combination of a sexy girl and a giant pastry is sure

to evoke scenes from a bachelor party. The scene of a
girl popping out of a cake is a classic one, and also the
inspiration of this drawing. In this case we'll prefer for
the pastry to look real and edible, and not like a fake
pastry at a bachelor party. Since our pastry isn’t empty,
our “Sweet Tart” is placed on top of it.

We've chosen this sketch (left) partially because we're inter-

ested in drawing a complete pastry rather than a portion,
and it’s the best composition.
 1. Layout
First draw an outline of her figure over a cylinder-like
object representing the pastry. The top part of the pas-
try is a circumference seen with perspective. How ever
you draw it determines the figure’s point of view and the
plane she’s leaning upon. Place the girl on her back, with
her hips raised as seen to the left.

2. Volume
Because of the point of view, what you see in the fore-
ground covers the background. When drawing the vol-
ume of the pastry,it is important to foreshorten body
parts that are covered by others. Her head covers part of
her thoracic box, and her breasts cover part of her ab-
domen. The incline and perspective of the pastry creates
a noticable overlap of her legs, while her feet get lost be-
hind her hands.
25
3. Anatomy
Now, it’s time to draw the connection of her legs and
pelvic box. Due to the elevation of the lower body, her hip
bone is more pronounced and the lower part of her ab-
domen becomes rounded. Her thoracic box, which is very
short and wide after foreshortening, is sharply narrowed
with two short lines connecting with her hip and point-
ing towards her belly button.

Her head is in a fairly complicated position, because it

is hanging upside-down and foreshortened. In order
to draw this correctly, keep in mind that the top and
forehead should take up more room, leaving only a nar-
row strip for her eyes and nose. Her jaw should look
wider while the space between her nose and chin should
be much narrower than a frontal view. This leaves very
little room for her mouth.
 4. Line Work
Now, continue drawing the pastry, by adding decorative
elements, like strawberries and cream. We can play with
the cream by drawing the girl with a piping bag in her
hand. We have to draw her fingers around the piping bag,
so that it looks like her hand is squeezing it hard.

Her breasts are quite large and in this posi-

tion they spill out over her shoulders. They
are not perfect spheres, rather they are
molded like balloons with nipples pointing
to her elbows. You can also slightly deform
the shape of the breast under her hand to
show the pressure she’s applying.
5. Lighting
Use ink to outline the figure and give the silhouette more
strength. Go over the outside lines first, and then tend
to the inside ones with finer lines. You can use shading
for extra depth. As seen here, shading separates the
thighs from the body and projects shadows on her an-
kles and inner legs.

6. Coloring
When coloring, follow the usual process of selecting a
few tones and applying the base color, then fill each el-
ement with color. Then, move onto the shaded areas by
adding more tones and touches and follow the volume
of the shapes. Finish-up by adding highlights and small-
er details.
7. Finish
From the moment we chose to draw strawberries and
cream, it was clear we were going to be using pink,
red, and other soft colors. There’s a palette of soft,
unsaturated pastel colors. She is a glossy, neutral
pastel, while the cake colors are brighter.
Delicacies

In this exercise, we fully integrate our delicacy with her

delicious environment. Try a few different sketches; the
girl in the image should be so small she can bathe herself
in the dessert cup. With the image of someone getting
cozy in a bathtub as a starting point, various poses and
dish shapes will come to mind. The bathtub comparison
also allows for the girl to be totally nude, as long as her
private parts are covered with some fruit.

The selected image is the most spectacular, because it shows her whole
body. As if surrounded by foam, we'll strategically arrange fruit so it
covers the area between her legs. The girl is also seductively bringing a
piece of fruit to her mouth.
 1. Layout
Although the figure is leaning back and we’re looking at
her from above, her back is not straight (as if on a bed)
instead her spine arches to form an “S”. The dish’s sur-
face is concave; so the wall she leans back on is curved,
causing her to double over. Her buttocks touch the bot-
tom of the dish and her legs are bent, so she can put her
feet inside.

2. Volume
Her hips and pelvic box widen as a result of the fore-
shortening required from this point of view. So, draw the
base of her pelvis and thighs much larger than the rest
of her body parts, exaggerating the sensation that this
area is closer to the observer. To control the size of her
arms in this pose, you must consider that their length
must be enough to bend just above the head.
3. Anatomy
|f you keep the shape of the dish in mind, you can imag-
ine that the girl is showing the inside of her thighs and
part of her buttocks by resting her feet up and raising
her knees. We've given her large, firm breasts, so the
force of gravitation should force them towards her sides,
spilling over the volume of the thoracic box.

Her wide hairstyle weakens the image's

depth, this works better when similar to a
triangle, using the girl’s head as its vertex.
Luckily, the placement of the dish allows for
the hair to appear that way.
 4. Line Work
Add credibility to the dish by including a few ac-
cessories, like a plastic straw and a wrinkled paper.
Now, integrate the anatomical drawing with the
cup and draw part of the buttocks and feet sub-
merging into the liquid sauce and fruit. Finally,
finish it off by drawing the piece of fruit covering
her genitals and its generous leaves.

To draw the circles that form the cup, use

a compass or a curved stencil to draw half
the cup, until the vertical axis, and reflect
the other half symmetrically. Calculate it
so the two halves fit together.
5. Lighting
Placing the light points is fundamental for a metallic cup
to appear real. One achieves the chromatic effect by com-
bining strong highlights that contrast with the wave-like
reflections on the surface. The shading of the body should
have very small contours, just enough for one to see how
the different body parts overlap.

6. Coloring
Coloring the illustration can be divided into various
steps. First, apply the base color for the fruit salad and
cup. Then, color in the girl and continue with the chro-
matic effect, before finishing with the shading, high-
lights, and final touches.
7. Finish
The metallic texture complicates the task of coloring,
but all you need is a metallic object at hand as a refer-
ence and to situate your light points well, keeping the
reflections on opposite sides. The palette of colors we've
chosen is quite discreet, without stridency. It is a simple
combination of reds and greens that complement each
other well, and match nicely with the dish’s off-gray.
The girl is colored with rose tones , so she is in tune with
the fruit’s colors.
Parodies Magical Girl
Knight
Mecha
Ninja
Sentai
Parodies

The manga world has an incredible number of parodies

of famous people, characters, and artist you can find.
Hundreds of manga pieces in a range of genres made for
and by enthusiasts. Similar to fanzines or independent
press in the West, in Japan they are called Doujinshi. Dou-
jinshi have the same format and print quality of manga
publishers. They imitate, and often copy the drawing
style of the work being parodied to the point that it’s
difficult to distinguish one from the other. The exception
to that rule is, of course, when it comes to content, be-
cause doujinshi are generally erotic.

Magical girls are young girls who end up becoming heroines and have
powers associated with changing identity (and clothes, of course). They
live their normal lives, until they must perform as heroines, making
transformation scenes typical. “Magical Girls” look for a hidden place to
invoke magic. Scenes where their clothes disappear and suddenly, she is
in her magical girl uniform, get repeated time and time again.
 1. Layout
Begin by imitating the rhythm of the typical trans-
formation pose, in which the girl raises her arms
and spreads her legs. Make sure the curve of her
spine follows the rhythm of her arms, so her fig-
ure has a strong base. This way she comes across
as dynamic, even if the pose is simple.

2. Volume
Next, construct the figure’s blocks over the internal struc-
ture, making sure to maintain the idea of rhythm. The
rhythm curve goes from the raised hand and arm to the
figure’s base, between her two feet. Finally, draw the in-
clination of her shoulders and hips according to this
imaginary curve.
 3. Anatomy &
Line Work
The elements in this image are not very difficult. There’s
not much of a difference between the anatomy and final
pencil draft. So, instead of discarding the anatomical
drawing, draw her clothing separately (same size) and
then superimpose them on the anatomy for the final
pencil draft.

eee

4. Lighting
To shade in this image, first you must draw localized
highlights, since there isn’t a light focus and the bright-
est light is being produced by the magical effect around
the figure. Once you've settled the highlights, draw
shadows in opposition to them, following the figure’s
volume.

40
5. Color & Finish
In regard to color, there should be play between the transparency
of her clothes and the light effect, which should come across as
something ethereal. The combination of colors is typical of a mag-
ical girl, where her yellow diadem stands out.
 Parodies

Manga enthusiasts are largely attracted to the parodies

)\ of superhuman characters. Here we have a clear exam-
a ple of one of these male characters with feminine traits
\ ‘ used to tell erotic stories, better known as Yaoi. These
( Ae \f characters are usually passionate, anguished, lonely,
= \o oN suspicious, shady, and always with some kind of mys-
Fie ox i terious element that fills them with magic and beauty.
Ne ’ \ ce Here we will draw the loner, only accompanied by the
2 \ sound of his cape waving in the breeze.

Leese HANK SA ()
= |—ariayd CYR ee 7
2 ok ee
~ V \A ma = ff

S a

/ GOS

ne at
~ \

The sketch we've chosen portrays our character at his sweetest, with a
relaxed attitude, which allows us to focus on his facial expressions. More
specifically, we'll work on his deep gaze, revealing his emptiness inside
even while carrying such a heavy load of responsibility. He looks lazy,
dejected, and in want of something he doesn’t have.
 1. Layout
Use a low-angle point of view, so we must lower our hori-
zon to fit the figure. Whenever you draw someone sit-
ting, it is helpful to draw his or her points of support or
by marking the height of the chair or background ele-
ment. From this point of view, draw the figure with slight
foreshortening to make his feet look closer. When sketch-
ing we'll have to mind the width of his arms resting on
his legs.

2. Volume
To be successful foreshortening and achieving the ap-
propriate width for his extremities, it’s advisable to use
volumetric figures that can easily be manipulated with
perspective. This shouldn't be difficult, perspective is a
useful tool that allows you to falsify the third dimension
on paper and understand the space around the charac-
ters. It doesn’t require you to abandon the set square
and triangle method, since often a horizon drawn by
hand helps us compose a scene correctly easier.

43
3. Anatomy
Remember his anatomy is being drawn from a low angle,
so his anatomical elements should be seen accordingly.
This will become more evident with fine details, such as
the cranium. It’s a good idea to feminize some of his
facial features. You can sharpen his nose, smooth-out
his chin, shrink his mouth, and stylize his gaze and eye-
lashes. You can also exaggerate the waves in his hair,
creating an androgynous look.

Reba

Sketching the arm hidden by his left leg al-

lows you to know exactly what areas will be
visible when the drawing is finished.
 4. Line Work
His armor consists of a set of rigid pieces, joined together to
give him greater freedom of movement. Although they’re
stylized, they have shapes that are more geometrical than
the volume they're covering; the presence of angles and
convex shapes help in this regard. Bordering the shapes
gives them a more elaborate finish. The free blowing cape,
which is wild with movement, serves as a counterpoint to
his heavy armor. To draw his cape, inlay wavy lines in the
direction you want the wind blowing. The cape gathers air
that pushes it upward amd forms pockets that resemble an
ebb and flow. Finally, connect the crests of the waves with
lines that converge where the cape is being held.

Perspective is the handy tool that’s going

to help you draw the stairs he is sitting on
with great precision.
 5. Lighting
Zenithal lighting projects his shadow onto the floor
and stairs. It’s necessary to understand the volume of
his hair in order to draw the shadow it projects on his
face. Lighting and shading make the difference be-
tween materials and textures most evident. The cape
is easy to do with just a few tones to show the areas
of light and shade, while his armor requires a greater
number of tones.

6. Coloring
The armor, in this case golden, appears metallic, cast-
ing great contrasts and giving a chromatic effect. The
best way to easily display the reflections given off by
metals is to create an ordered composition with contrast-
ing tones, using pure white for your highlights.

46
7. Finish
Cherry petals, an element commonly used in manga, will
add rosiness to a composition with yellow and blue. By
painting their edges with a dark rose, we make them
appear much lighter. Drawing the background with a
pictorial finish helps separate the main character, en-
riching him with a classic illustrated finish.
 Parodies

Only in Japan can you find an entire genre dedicated to

giant robots: Mecha. Mecha stories started as battles be-
a tween giant robots, whether it be a futuristic war or your
\ average hero versus an ever-changing variety of evils.
\ Within the genre, they used to just explore the relation-
\h
1 YD Seton an,
\ J) ship between pilot and machine, but when the Evangelion
| SPR \ |} | series came out, the focus of the stories began to evolve.
di 1 \\aas aa Later an erotic series evolved about teens forced to risk
€ iq) Vy x . their lives and pilot the mechas, while exploiting the boy’s
| VY { \\ | . attraction to them (although groups of girls are more
<= CT aos common). This series focused more on their lives than on
| Se: the mecha battles.
~~ =]
=

Ny
X= a ee / = / Fos

Vv Cy er
\ 7) “A> r Sa Says

| ¢ /2n fo / K |

vi Poy eee ce
\ t } i

Ore
5 wc
3
S Q
leh P oe

i
\

In this drawing we can see the relationship between the pilot and her
mecha is quite conflictive or perhaps an enemy mecha has taken the girl
hostage after destroying her machine. Whatever the case, this composi-
tion seems to come straight out of King Kong, with giant hands ripping
the front of the young heroine's pilot uniform.
 1. Layout
Construct the figure so it adapts to the surface of the giant
hand. To do this, sketch some lines indicating where the
support surface is and imagine it to be somewhat similar
to having her sitting on a sofa. She has her legs raised
and her body is doubled over and unbalanced. The posi-
tion isn’t the least bit relaxed or static and actually, quite
to the contrary.

2. Volume |
To draw the approximate shape of the hands and fin-

Coe
gers, draw the arm with which she'll be grabbing one of 2 eal
his fingers as a reference. Then show how the volumes of
her legs and fingers overlap. It is best to draw the entire a
volume of her legs in order to control their contours and 2s
proportions.

49
3. Anatomy
Draw the figure’s anatomy over the volume blocks, al-
though later you'll eliminate the lines that get hidden
behind her fingers. Her legs end up covering a lot of the
abdomen and thoracic box, so you can barely see her
waist.

When drawing the action of her hand grab-

bing the mecha’s finger, start by drawing
it completely and correctly situating the
elbow and forearm. Then draw the fingers
so that they grab the end of his finger, eras-
ing the contour lines covered by the mecha’s
large finger.
 4. Line Work
Now that the hand has greater presence, draw a sepa-
rate sketch detailing how the mecha’s hand would be,
then go on to draw how it would hold the girl. Finally,
give the pilot a skintight uniform inspired by the series
you're parodying.

Now add a second hand that is ripping off

the front of the girl’s uniform. Then draw
the volume of a normal human hand, and
make the changes necessary to construct
the mecha’s hand on top of it (right).
5. Lighting
Next create a typical perpendicular lighting scheme (sun-
light from above) on the girl’s figure. There are just a few
small shadows on her torso, (below) while the ones on the
inside of her legs are much more noticeable. For her hands,
take advantage of the contrast between the base colors and
the contour shadows to create a metallic effect.

6. Coloring
On the glossy areas, shadows and highlights take capri-
cious forms, although always following the shape of the
given surface. On the pieces in her hair, the shadows
follow the contour of the spheres—as if it were a jewel,
(below) while the knuckles on the metallic hand take a
more angular shape.
7. Finish
Use the same tones that appear in the series you're par-
odying, but with slight variations on some of the ele-
ments from the original. In this case, it’s pretty obvious
what we're parodying, right?
Parodies

Shonen manga comics (made for teenage boys) are the

most commercial and popular in Japan, becoming
television series and videogames with lots of additional
merchandising... and of course, a lot of parodies. Shonen
manga usually has a pinch (or quite a bit more) of eroti-
cism, as it targets a male audience at a very receptive
age. This makes it very easy to create attractive charac-
ters and plots, so you can draw them naked and with
provocative attitudes. Transforming male characters into
females is a tool often used in parodies. So, it wouldn’t
be surprising for us to think about what our favorite
manga character would look like if she were a girl...

There’s a series about ninja fighters that’s all the rage right now (yes,
surely you know which one). Since manga covers play a lot with charac-
ters with long rolls of parchment, giant shurikens and other ninja para-
phernalia, we thought it would be perfect to do a version that was a bit
more risque than your usual ninja compositions.
 / 1. Layout
ve You must imagine the figure from a frontal position,
allowing readers to easily see the enormous brush she’s
using and holding. Her back curves and adapts to the
position of her legs resting on the floor (in perspective),
and showing its inclination.

2. Volume | AN
When drawing the volume of her legs, consider the in- = ‘a lye
clination of the floor and the foreshortening of her legs, —— y,
which reduces the area between her knees (which are // /{}il
seen in the foreground) and feet (which are in the back). (1 #2 yo |

55
3. Anatomy
Upon finishing the figure, you will need to pay more
attention to the hip area, especially where you have to
mark the hardness of the bone and the slight turn of the
waist. Another point to watch out for is the spot where
her breasts press against the brush, and additionally
the placement of her hands on the brush, which must
hold and naturally adapt to its contours.

Although the girl’s shape is well explained

in the volume drawing and you can easily
deduce the anatomy that is covered by the
thick brush, make sure the invisible parts
correspond well with the rest. Draw the girl
as if the brush were not there, but keep her
arms positioned as if she were holding it,
and check that the positioning of her shoul-
ders and arm length are correct.
 4. Line Work
The figure is pretty symmetrical and the positioning of
her legs is identical to the vertical axis, only inverted, like
a mirror reflection. The best way to see this is by looking
at the legs from the hip down.

The most eye-catching element in the image is

the enormous paintbrush. Although you won't
show this when outlining it, nor by adding any
details within, the brush is just a basic silhou-
ette. Instead represent its mass and volume by
using color, so for now stick to straight lines
except for the ball at the end. It’s better to treat
the volume of metallic pieces with shiny con-
tours and solid patches of reflections, which
will help you color in these parts later.
5. Lighting
With a light focus coming from above, shadows are pro-
jected just below her most prominent body parts, as you
see, below her jaw and breasts. Her figure projects a
well-marked and defined shadow on the floor beneath
her legs.

6. Coloring
The background is a typical frontal view of the inside of
a cube (small square room: a flat wall in front and two
walls coming out perpendicularly, seen as an angle from
this perspective). We'll do it in color from the start,
drawing the two side walls with flat contours that meet
with the center wall where we'll draw a kanji. The kanji
imitates brush strokes and stands for the word “ai”
(love) in Japanese.
7. Finish
To finish the image use pastel colors, especially pink for
the background and kanji, which blend well with her soft
violet hair. The hair on the tip of the paintbrush should
be painted by mixing patches of these very same colors.
 Parodies

Sentai is a television series in which a group of masked

and uniformed heroes fight against organized criminals
ee
SS seeking to take over the world or alien invaders out to en-
SBA
slave us. The phenomenon originated with the Japanese
CD)
(7) yy
* ee
wk
television series in the 60s and 70s, then exploded when
the full-length feature films hit in the theaters. There was
hn ? 8 ae no sense trying to export Sentai to other countries but
‘ a ~ \
when the Power Rangers became popular in the West, the
~
a Sf
%
a4
demand grew. In sentai, many characteristics are repeat-
ed: colorful uniforms with matching masks, clumsy vil-
lains, giant robots, monsters, and comical supporting
characters.
oS
~

In sentai, characters have uniforms that give them special powers (with
all sorts of explanations), but fit them beautifully. Did they know their
sizes before finding them and giving them their suits? Here, we give our
heroine a uniform that’s a bit too small... And where’s the bottom piece?
This little robot wouldn’t know, would it?
 1. Layout
Start by placing the girl and robot at different heights,
since the girl is sitting at a higher level. Then, sketch the
head and axis of the spine to mark the rhythm of the po-
sition, and add the pelvis and thoracic box with her legs
raised and flexed.

2. Volume
It is helpful to draw her pelvic box resting on the seat.
So, draw it together with the thoracic box and head, and
finish by adding her arms and legs. Then draw the prisms
to build the robot on later.

61
3. Line Work
Her costume is limited, but the design of her boots and
helmet are pure sentai, with that cheesy sci-fi touch of
typical 70s sentai classics. You should note that the two
articles of clothing that they’re holding are, in fact, the
top (the girl’s holding it) and panties (the robot’s hid-
ing them) from the same uniform.

Let’s entertain ourselves with the robot for

a while. When drawing machines and tech-
nical objects that require fine straight lines,
it’s best to use support material like rulers
and curve stencils. Do a rough sketch by
hand (far left) and then a final draft with
the help of the stencils (left).
4. Lighting
Because the light is coming from above, you have to
shade below the girl’s chin and helmet, under her arm-
pits, and in between her legs—where it'll do us good to
separate her thighs. Then shade in the circular parts of
the helmet.

5. Coloring
The robot's metallic look is achieved by applying large
patches of basic tones and going over them with fine
white lines, blending them in continuously. Then (below)
add darker shading and fuse them with the rest, along
with some strong highlights and finer details.
 The color of the helmet has a lot of shading that you should add little by details. In order to make the visor transparent, you will need to see the
little. This applies to the drawing as a whole, although in this case start by color of her face. You can use dark patches and then alter them to create
leaving out the figure’s color but remember it’s there as well. Start by ap- reflections. Finally, paint a layer of translucent green, with not very much
plying general patches of color, according to the volume of each element. opacity, to give it that tinted glass effect.
Then blend the patches and add detailed lines on top, which will fade into
the patches of color. Keep defining the shapes and adding fine lines and

64
6. Finish
Complete the image by looking at the details, like the
shadow the figures cast on the floor and their reflections
on the surface of her seat. Since it’s a dark metal surface,
give it a black base color with a chromatic effect. This
can be achieved by adding strong highlights over its
volume. Finish up by adding hazy patches of color from
the figures to the seat, as if reflected by a mirror.
Professions Maid
Farm Girl
Mechanic
Pop Star
Lifeguard
Nurse
Cowairl
Professions

The French maid is an erotic classic and fetish for many.

It’s an image that evokes short skirts, over-elaborate
aprons with lace edges, stockings, garters, and shiny
shoes. The submissive maid willing to do anything her
master wishes. Educated to satisfy all his desires and for-
ever busy with the chores, she must complete her tasks
around the house.

When evaluating the sketches for this exercise, the goal is to create an
image with an air of luxury. Dusting the stairs is too obvious, and not very
attractive. The profile of the same pose is nice, but overall a bit too flat.
However, the three-quarter perspective from the rear gives a lovely view
and offers the possibility of tangling the cable around her legs.
 1. Layout
Once again the spine is the driving axis for the body’s
movement. You should look for the appropriate leg po-
sition, one that creates an impression of slight unbal-
ance, in order to place her feet correctly. Next, force her
neck slightly, so her face is visible. Then, sketch the in-
cline and arc of her shoulders and, lastly, add the vacu-
um cleaner.

2. Volume
This is the stage where it becomes obvious that the center
of attention is clearly her hips. They are superimposed
over her abdomen by raising her pelvis. Exaggerating this
position will make it easier to show her panties later.
Continuing downward, you can develop her legs and the
twisting elements required to show slight unbalance. This
movement is emphasized by the direction and placement
of her feet. Then, arrange her hairstyle and inlay the vac-
uum cleaner.
3. Anatomy
There are two hot spots when drawing her anatomy. The
first being the areas covered by other body parts, such
as the hips and cervices. And secondly, the curves and
the balance of her legs, which give her movement.

The areas that can be more difficult to draw, since

they are hidden, should be approached just the
same as ifthey were visible. So, sketch them in any-
way just to make sure you place them correctly in
the drawing. The most important thing to remem-
ber with the legs is to think about the positioning
of her knees with respect to her feet.
4. Line Work
It’s a good idea to think about the different clothing
options for our maid. For this example, she has a sim-
ple outfit, including an apron with flounces, anda
mini-skirt with a black corset that contrasts with the
apron. Her undergarments follow the same line with
lace edging and ribbons, as a decorative element.

Pay attention to how the clothes adapt to

the shape of her body, and how details like
flounces also fall victim to the tension af-
fecting her clothes.
5. Lighting
Illuminating her buttocks is crucial in order for them to
stand out. The same thing occurs with the ornamental
elements of her clothes, since lighting them correctly
emphases their volume. You should also pay mind to
their elaborate shapes when projecting shadows.

6. Coloring
You can finish off this illustration in a simple manner
with flat color contours. Start with a base and add the
first colors, then tones for shading and detailing.
7. Finish
mb inat i inn th cthoc loth n
O ( atu isually Mark UIE C g
Professions

Rather than a profession let’s just say we're going to por-

tray a way of life: the farm girl. We’re going to draw a
beautiful, happy, and carefree country girl far removed
from the roughness and sophistication of the major cities.
We clearly want to draw the character as young, full of
life, healthy, kind, and perhaps with freckles. Her body
should be buxom, without being too chubby, and curva-
ceous. The most important thing is to add elements that
place her in the countryside, like straw, hay, work clothes,
and tools.

Key elements are in each of the sketches, like the pitchfork (some sort of
wooden trident used for moving hay), straw hat and wheat. In the sketch
for this example she appears lively, though lost in the moment. It seems
she's holding her hat so the wind doesn't take it flying.
 1. Layout
Begin by drawing the figure’s internal structure in a posi-
tion that’s slightly different from the one in our reference
sketch. In the new pose she’s quite inclined, so her breasts
fall forward, It's also important to correctly draw the tho-
racic box with relation to the hip axis.

2. Volume
Although it seems that we are looking up at her, her low-
ered head hides the chin area,making her forehead and
hairline larger. The volume of her breasts, which are
falling forward by their very weight, covers her inclined
torso. When we draw her left leg in front, its volume over-
laps the leg behind it.

75
3. Anatomy
Be careful when drawing the way her leg steps forward.
Her knees should be flexed, as the muscle contours over-
lap and she puts her weight on the front part of the foot
and her toes separate with the pressure.

Drawing the torso and hip area is quite com-

plicated, so look at her anatomy one part at a
time, as ifeach piece is for a plastic doll. Begin
with the furthest part, and add each part onto
the other: pelvis, abdomen, thoracic box and
breasts.
 AWAY

4. Line Work
Next, draw the face of a freckly girl with long, ruffled
straw hair, should look kind and natural. Her clothes
should match her character. For example, here she’s
wearing resistant and practical clothing that has been
ruined by working so hard in the fields.

\
a)c)>p

Her top and jeans should look very worn out

and wrinkled, because of her posture. There
should also be a lot of wrinkles in the area
between her legs.
5. Lighting
It would be logical for the farm girl’s skin to be tanned
by the sun, but since the atmosphere needs to be light
and luminous, her skin should have very pale areas that
contrast with the shaded ones. It’s very clear the way the
sunlight falls on her back, projecting shadows on the
front of her body, not to mention the one projected on
her legs from her trunk. We'll draw a highly defined
shadow on the hat, and project shadows on the girl's hair.

6. Coloring
As far as color is concerned, you should note that this
image allows for opportunity to recreate different tex-
tures by simply changing the black ink line for one of
color. This way, you can create the illusion of realistic
texture on her straw hat, jeans, and pitchfork.

wim
By
af La
7. Finish
In the end it certainly is a very luminous image, in which
the sunlight evokes an outdoor rural scene. All the col-
ors have a strong yellow component, using warm tones
that complement her light blue clothes well.
Professions

There are lots of tough girls marked by masculinity, while

not being devoid of sensuality. In manga there are hun-
dreds of girls who are mechanically-inclined. Many of
them wind up inside enormous war machines or high up
on powerful engines that only they are capable of tun-
ing up.

In this example, she’s a professional mechanic in her workplace, and

not just a car or motorcycle repair enthusiast. She is placed beneath
a car, with additional elements, like a dolly and toolbox, to give her
environment more validity. We'll draw the dolly she'll lay down on
with tools by her side.
 1. Layout
This is one of those figures where it’s important that you
begin by marking the relationship between the figure
and the floor. Then, complete the design by sketching
the dolly. A lot of foreshortening is required to show per-
spective, especially where her legs are hidden behind
her body. At this point, you will also mark the zenithal
nature of the perspective ruling over the elements of the
illustration.

2. Volume
In order to grasp the volume of her figure, you should
keep a few points in mind. First, there is a degree of dif-
ficulty where body parts overlap, especially because cer-
tain elements are not visible. Secondly, be aware of the
fact that she is a girl with a rough personality and phys-
ical features; the muscles on her arms are the fruit of
manual labor. She’s not a body-builder... she’s a me-
chanic.

81
3. Anatomy =
It's crucial to take a character's personality into account
when drawing his/her body so remember her anatomy N
is the fruit of manual labor. A character's body tells you
about her personality, habits, everyday life, and past.
Her body is supported by her right arm and bears the
weight of her head and torso, while her hips and legs
absorb the weight of her lowerbody. Next, draw her fa-
cial features by taking a slight zenithal perspective.
This slightly raised, point of view must be maintained
throughout the entire figure.

In the original sketch, the position of her

head and neck did not seem natural enough,
so it has been adjusted slightly to allow for
a more realistic perspective.
 4. Line Work
Emphasize the different textures and elements by treat-
ing their lines differently. The lines for the flesh should
be a lot sweeter and sinuous. Then, use angular lines for
her clothing, ones that highlight the volume created by
her pockets, wrinkles and, the knot of her sleeves. Finally,
detail the seams and zippers to make her cloths more re-
alistic. Her work gloves should make her hands look
slightly larger.

You must take into account the different

elements that round out the composition,
and make sure theyre in harmony. In this
scene, she has a screwdriver and toolbox.
When drawing the toolbox, it’s important
to keep the general perspective in mind
and place it correctly on the floor.
Mechanic —
Professions

5. Lighting
In this image light falls on the elements from above,
creating shadows on the lower part of each object. In the
same vain, the shadows of her body are projected onto
the dolly, while the shadows of her hair and the bill of
her hat fall on her face.

6. Coloring
Keep the concept of reflection in mind when you paint
chromatic plastics and metals. For example, the colors
from her clothing, the toolbox, and the body of the ve-
hicle are all reflected onto the hubcap and rims.

8h
7. Finish
Now that the illustration is finished, you can see how the
girl’s warm, skin color stands out against the colder and
darker elements surrounding her. This marks boundary
between live flesh and cold metal or plastic. The floor
follows the same logic, it is a dark gray, with dark blue
shadows placed like blended patches, to give it a ce-
ment-like texture.
Professions

Life is so hard for these girls, escaping the most lascivious

paparazzi, morbid producers, and harmful fans. And, who
hasn’t dreamed of holding one’s idol in their arms and do-
ing whatever you please with him or her? Dreaming is for
free, and these twenty-first century queens always try to
make it easier for you. All you have to do is look at their
album covers or listen to their lyrics. And, you'll see why...

The basic idea is to create a scene worthy of an album cover. You want
simple pose that suggests more than you can see, which is why this
example works well. She’s only wearing jeans, but the look she gives
plays an important role.
 1. Layout
Start out by drawing her head, then draw the line of the
spine to mark the twisting of her trunk. Now, you should
have the base from which you can orientate the rest of
her body.

2. Volume
At this phase, differentiate the parts that face the spec-
tator. Think about the shape of her arms and legs. And
lightly sketch the volume and movement of her hair.
3. Anatomy
Clean and clear lines, as well as slightly modulated strokes
are imperative. A poorly placed or careless line would take
sensuality out of the illustration. When drawing her face,
you should mark her eyes distinctly.

Sometimes it is easier to see the twist and shape of a

figure’s back when you remove the arms. Here, you
can see the finely curved lines that simulate flesh,
thus making the image tangible and believable.
 4. Line Work
Anatomically, this exercise is pretty basic. Now, it’s just
a matter of polishing the lines and creating a realistic
shape for her jeans. Except for the areas that fit tightly
around her body, use angular lines for the rest of the
jeans, giving them a sense of stiffness.

For reference (and on a seperate paper),

draw her hand seen from the other side. This
way you can see how to draw it and have a
better idea how to place the microphone.
5. Lighting
Just like the anatomy, the shades of her skin should be
basic. This creates more of a studio look with clean col-
ors. It is best to model the shapes to follow the flesh of
her body, while playing with her twisting motion.

6. Coloring
Treat her jeans, boots and microphone in a more pictori-
al way; the contrast between her body and clothes makes
the image even more realistic. First, create a flat color
base for the jeans and color the boots black. Then, with
very contrasting colors, add light to the boots and make
them chromatic. Do the same to create the illusion of de-
tail and texture on her jeans.
7. Finish
Her warm skin tones contrast with the colder elements in
the drawing, which highlights her body even more. Some
soft touches in the background can be applied to mask
her or create a simple backdrop, therefore making it look
even more like a studio photograph.
Professions

We’re going to be a little creative with this illustration to

make it more attractive and relate the figure to the set-
ting. Rather than drawing the typical image of a lifeguard
running toward the water, the goal is to create a more
twisted and embarrassing situation her. With the help of
a simple octopus and crab, you can have them stick to her
body or remove her bikini. It’s absurd, but it’s also fun.

This image is very chaotic and dynamic with a pronounced perspective

from floor level, where you can see the naughty crab escaping with
her bathing suit. When you add up the various factor, you have the
perfect composition.
 1. Layout
When dealing with the figure’s base structure, you'll
need to draw the spine curve, in the form of anS, to mark
the oppositional play between her shoulder axis and hips
as her body turns. You'll also want to put one leg in front,
bringing her foot noticeably closer.

2. Volume
In the volume drawing, you must note the position of the
thoracic box with relation to the pelvic box, which stand
opposite one another. You should also make sure the leg
that moves forward increases in size, and covers the
other leg correctly. Then, draw the octopus, clinging to
the girl’s breasts, and the crab in their proper positions.
3. Anatomy
Since the tentacles are clinging to her breasts, they
won't be affected much by motion. You will have to
depict motion in relation to her hair, which accompa-
nies the inertia of her movements. On another note,
the curvaceous shape of her legs gives her figure a dy-
namic rhythm.

Seen from floor level, the foot that’s placed for-

ward is difficult to draw because you see the sole
and tips of her toes, as well as the upper bridge
that connects with the ankles. To make it easier,
draw the parts one by one, from the bone struc-
ture to the heel, to the tips of her toes.
 4. Line Work
Afterwards, define the shape of the crab escaping with
the bikini bottom and the clinging octopus. The tenta-
cles grab and flatten her breasts, while also covering
them. Next, add elements like your typical rescue float,
making sure they accompany the figure’s movement,
forcing us to draw the shape in perspective.

The crab in the drawing is more realistic, rather

than a simplified caricature, so use the sketch
as (left) a reference. It is also in the position
you see in the illustration.
 5. Lighting
From the glint of sun shining on the girl’s head, you can
see the sun is coming down perpendicularly from above,
so draw some shaded contours along the bottom of some
of the volumes, especially on the sole of the foot, while
putting the darkest shading under her hair.

6. Coloring
Color helps us define the animals better, especially the
way their surface looks. The wet, slippery flesh of the
octopus and the crab shell are wellcrafted, drawn with
fine white lines and a few drops of light. By adding heavy
reflection, you can give them a wet look, as if they’ve
just come out of the water.

96
7. Finish
The finished image as a whole is quite luminous. The clear,
baby blue sky combines well with the bright colors of her
skin and the saturated reds of the animals and acces-
sories.
 Professions

a There aren’t many professions that leave us as

g naked and defenseless, as those in the field of
done EX sy medicine. Nor are there many with more fans and
Ne EN \ detractors than nursing. At times, they’re mon-
Di K ey x strous creatures capable of relocating a bone be-
DY “Ss ~ fore you can bat an eyelash, and at other times
) (2 i they are innocent angelic apprentices at the
C = mercy of filthy and inconsiderate doctors and
\ 4 patients.

ale \_ NM

We've wanted to find a hybrid—a sweet wrapping for a sick and sinister
mind—a nurse that wants to hurt a patient. We chose the sketch with a
classical triangular composition, which never fails, and the drawing with
the most interesting perspective to study.
 1. Layout
The first thing you'll have to do is sketch the triangular
composition. You can begin by drawing the operating
table and the girls, that way it’ll be easier to have them
lean on a real surface. First, draw the girl lying down to
make sure you have enough room for the other nurse
between her legs. Be careful when foreshortening the
patients arm and mind the nurse’s body language, es-
pecially using the curve of her spine. The nurse will also
need foreshortening; the most exaggerated feature will
be her left leg, which is almost in the front of the patient.

2. Volume
When adding volume to the bodies, pay attention to
where they touch each other. (We've been a little
naughty and played with their buttocks in the center of
the composition). Use perspective for the geometric
development of the volumes to ensure you have the cor-
rect anatomy later. At this stage, it is very important not
to lose the gesture we've chosen when inlaying the fig-
ures or their movement will be affected. Next, inlay ad-
ditional accessories, like a stethoscope, needle, or even
a cushion, to emphasize the girl’s intent on escaping.
3. Anatomy
To draw this correctly it is absolutely necessary that you
place the anatomy in perspective. As in previous cases,
there are areas that are hidden behind other anatomical
features. The most convenient way is to draw them as if
it were an x-ray. This way you can be sure you're doing
it right. It’s also important to understand how the dif-
ferent body parts react to pressure, such as the patient’s
breasts, which are crushed in the illustration.

When foreshortening their closely, overlapping

limbs, it is important to understand that they
appear larger as a result of perspective.
 4. Line Work
It's time to dress the setting and characters. After all,
clothing is an element that adds eroticism to any com-
positions, because, frankly, full nudity often ends up
being pretty mediocre. In this case, the character’s lin-
gerie is important for both its presence and its absence.
On one hand, we see the delicate lingerie of the patient
up close, which is coming off in her violent desire to es-
cape, and we can deduce that her bra will soon move
from its proper place. In addition, the nurse’s tight and
unorthodox uniform allows us to see the breasts of this
sassy health worker.

Making clothes fit tightly is a recurring trick to

“show without showing,” which is often the
base of eroticism and insinuation. This way, you
highlight their bountiful bosoms. Next we'll see
what happens when we separate their buttocks
from touching each other’s.
5. Lighting
Here, you'll create a clear contrast between lit areas and
those that have shadows cast over them. Doing this adds
depth and will make the setting more realistic. Start by
projecting the shadows over their bodies and the oper-
ating table. Then, add volume to the sheet being stepped
on and the girl’s horrified expression. In the area where
their buttocks meet, remove a line and the transition now
will be limited to their body tones. This heightens the
perception of support on one side, in addition to the nat-
ural out-of-focus effect produced by the shade.

6. Coloring
The needle’s texture will look more realistic if you
paint its contours, then add highlights over the color
of the injection.
7. Finish
Create a clear contrast within the chromatic range for
each of our characters; more tender colors for the vic-
tim, and more acidic ones for the psycho nurse. The
nurse's uniform looks more realistic when you combine
bright yellow for the light areas and soft blue for the
shade. Finish the image by coloring in the background.
 Professions

What do you say we try to draw the exuberant beauty

from the Wild West? The image should be something
daring and wild; we thought a high-angle shot of an ex-
plosive and curvaceous girl mounted on a mechanical
bull would be perfect. Seeing her from above adds inten-
sity to the scene.

This sketch fits best as a vertical composition, and it’s the one that lets us
play the most with the bull’s head. The mechanical bull isn’t mere object.
It can lend motion and personality to the image, depending on whether
you want to give it an aggressive or comic expression. Being in the fore-
ground makes it more prominent, in addition to marking perspective lines
with very heavy foreshortening.
104,
 1. Layout
The first thing you’ll draw is a sketch of the mechanical
bull, where you'll pay attention to its deformation from
the foreshortening of our perspective. The girl has to be
drawn to adapt to the bull, especially the way her legs
grip its sides. Her spine arches on a pronounced curve,
making it a dynamic pose.

2. Volume
At this stage, the bull is already totally defined. The
shape of her legs is reinforced by drastically reducing
the volume of the lower part (from the knee to the foot),
as well as the leg that’s farther away.

105
 y)

3. Anatomy
Now, pay special attention to your sketch, preferably
using fluid, curved lines for the girl’s body. This way
you'll make her flesh look more natural, with soft and
Nek
SR
malleable volumes.

Although it won’t be seen in the final draw-

ing, the entire right leg which will be hid-
den behind the mechanical bull. This will
help you see how she would raise her leg
and knee, depending on where she’s rest-
ing her foot. You should make a reference
for volume, and then draw the foot, trying
to imagine the bull’s body.
106
 4. Line work
Since one of the requirements of this drawing is to draw
the character with little clothing, we’ll have to take max-
imum advantage of the few articles she’s wearing. And
a cowgirl’s attire is based on two important elements:
boots and a cowboy hat, which just happen to be sug-
gestive accessories.

In erotic drawing it’s good to use simple

and clear shapes and not saturate the image
with the lines. A detailed bull would steal
attention away from the girl, which would
definitely be a problem.
5. Lighting
Considering the girl's shape is based on fluid, curved
lines, draw the contours of the shading with sinuous
curves, to help make her flesh look soft. The shadows
begin under her breasts and go down along the curve of
her trunk, as you can see in the middle of her abdomen.

6. Coloring
To complete the composition, draw a background framed
by a horseshoe. You can create the background easily on
computer and then combine it with the horseshoe’s sil-
houette. In order to do this, cover or “mask” the cow-
girl’s silhouette and horseshoe, and then work with the
colors on top. When you remove the masking protection
the color will be within the lines of the silhouette.
7. Finish
In this case, color choice is pretty evident: ochre and
earth tones evoke the hot, arid desert. Only use warm
colors for the girl and background, while the bull should
be more pale and discreet to balance out the image.
And, just so it doesn’t seem too dull we’ve gone and
given the girl bright red hair, making her look wild in
the process.
i‘
Ae
Afte f Cla SS Teacher
Volleyball Player
Gymnast
Cheerleader
Basketball Player
Young Couple
Locker Rooms
After Class

The sexy teacher who drives her students crazy is a recur-

ring theme in manga, where readers tend to easily iden-
tify with students. There are two basic types of characters
which determine different personalities. One being the
mature and experienced woman, conscious of the effect
her curves have on her students and co-workers. She is
usually extroverted, dominant, and very provocative. The
other is novice, young, and insecure. This woman isn’t
very conscious of her beauty; actually, she might even
have a bit of a complex.

We'll choose the novice since it’s more fun to put her in an embarrassing
situation in front of her class. After all, she’s a bit clumsy and still not
comfortable in her shoes; she just might slip and send the papers in her
hand flying.
 1. Layout
To reflect that she has lost control over the situation,
sketch the figure’s base structure in a clearly unbalanced
position, showing how she loses her footing. Her back
should curve sharply and her legs should bend, drop-
ping her knees.

2. Volume
When drawing volume, it’s important to figure out the
positioning of her feet to show how she loses balance and
falls forward. You demonstrate this best with the leg that
is stuck behind her by joining the knees when bending
her legs.
3. Anatomy
As a result of the unexpected motion, her breasts get dis-
placed and follow her body’s inertia. Drawing the hand that
is holding the folder may be difficult. First, you should make
a reference of the rectangular folder and adapt her finger
positioning to it. Afterwards, touch-up the contours of the
fingers, and make them more defined.

Her hair movement, and the way she tilts her head back, is
drawn to follow the rhythm of her body.You should also
consider the effect that wind and inertia have on her hair. To
draw her locks, send them out in different directions, depend-
ing on where they are on her head, but use a common point
of origin (hair line) on outwards (towards the ends).
4. Line Work
You want to represent a dynamic scene, where papers
are sent flying by the same gust of wind raising her skirt.
Her hair, dress, and papers all move about in an uncon-
trolled manner, helping to reflect the scene’s chaos.

Touch-up the drawing with her panties so

that the contour creates a little more vol-
ume. Then, add a friendly bear to make the
illustration more comical.
5. Lighting
Light comes from various directions in this image, like it
would in a closed place such as a school. Start shading
by marking the insides of each appendage, especially
under her skirt and hair. Then, make her breasts solid by
shading below them. Finally, add diminishing shade to
the folders, thus making them more realistic.

6. Coloring
To give more emphasis to specific elements in the image,
try to substitute the black lines for colored ones, and
apply transparency effects. The panties gain a lot of
attention with the color outline, and the crystal of her
glasses now appear transparent.
7. Finish
The lifting of her skirt reveals a pleasant surprise; the
teacher is wearing teeny-girl panties! This is the real
her... although she might wear discreet clothes in dull
colors. Beneath that formal facade is a sweet girl with
fun pictures on her sexy underwear. When coloring the
image, make sure to highlight the contrast between
these articles of clothing.
After Class

What is more tender and playful than a clumsy girl?

Perhaps that clumsiness is the fruit of her vanity? This time
we draw the result of a bad “rebound” in a volleyball
game. Girls’ volleyball is one of the sports exploited most
in manga; both in series especially devoted to sports, as
well as others that are more geared to children. We had
to find a good way to strip her down, so we came up with
the idea of the ball uncovering our young athlete.

We settled on the ball to the face for various reasons, one of them being
it’s the funniest and humor always plays an important role in eroticism.
Besides, it'll allow us to draw different faces and action-filled poses.
 if 1. Layout
Although the figure is flying in the air, you still must
respect its relation to the ground and space. Generally
speaking, there’s always a ground and sometimes
gravity! The arch of her back marks the composition,
as well as her figure’s position. To place her arms cor-
rectly, pay attention to the space remaining between
them, which happen to be her breasts. The most ob-
vious foreshortening is on her left leg; so, pay close
attention to the positioning of her knees, which open
slightly outwards.

2. Volume
If you continue with her legs, you must also look at the
position of her feet; the soles are slightly tilted and fore-
shortened. The bulk of her torso will cover part of her hips
and these, in turn, will almost completely hide her right
thigh. Look for the correct placement of her shoulders and
arms, adjust them to a position that is ready to receive the
ball. It’s of utmost importance to pay attention to the
placement of her hands, if you want to make her look like
she can really play volleyball. It doesn’t matter if her face
gets hidden behind the ball; draw it anyway.
9
3. Anatomy
Generally speaking, she has an athletic body with strong
arms and legs, but do not give her too much muscle; she’s
not a body-builder. Where you should go into greater
detail is on her hands, which are important. Look for a
position that reminds you of a dig. She is a proud play-
er, who shouldn't be looking at the camera but minding Pee
where the ball is going.

This is the result of not paying attention.

It's important that you, on the other hand,
do pay attention and adjust the position of
her facial elements to know, with certainty,
that her face is hidden behind the ball. Look
at the effects of the ball smashing into her
and how her hair and body react.
 4. Line Work
Complete the drawing with her volleyball uniform, shorts,
and shirt. And while you're at it, you can also add a little
more personality by giving her some wristbands. Now,
it’s time to pay attention to the ball’s movement.

Here, is another play for animation. The ball

comes from below, and makes its way be-
tween her breasts and onto her face. Very
carefully, emphasize the wrinkles on her
shirt, which are produced by the ball’s
movement. After the impact, her breasts
should return to their place, but you still
can influence what's happened to her bra
strap. 121
5. Lighting
The lighting is strong and zenithal, as it would be ona
volleyball court. The largest shadow is projected on her
breasts by her outstretched shirt. There is some light re-
flection on her back and neck, which add greater depth.

6. Coloring
You can also project her shadow on the floor by drawing
her silhouette. The lines on the floor are done directly in
color, so is the beam representing the ball’s trajectory.
The beam should be very smooth, almost transparent,
and less opaque than the rest of the drawing.
7. Finish
You can continue with the contrast marked by the po-
tent zenithal light, and highlight depth by fading the
line marking the court.
After Class

Since a gymnast’s outfit is quite simple, all we need to do

is add a couple of props to complete the atmosphere. Each
rhythmic gymnastic exercise has its own object to make it
more difficult, and it takes a specialist to master one.
Drawing some of these objects (balls, ribbons, hoops...)
and a wood floor in the background is all we need to
complete the scene.

Well, well... Rhythmic gymnastics is harder than we imagined! Our

little friend has gotten all tied up in the ribbon she was trying to use
during a complicated exercise. Rather than performing to the music
playing, she made a couple of strange turns and wound up in this state,
totally immobilized (left).
 1. Layout
The position her head winds up in is quite complicated,
with her feet behind it. The trick to making the pose work
is to line up her shoulders, head and feet on the same
plane, resting upon these five points on the floor. You
also have to curve the spine a lot so that it connects with
the hips.

2. Volume
Once again, you must emphasize the relationship be-
tween her shoulders, head, feet, and the floor. Her
legs are almost completely cover her trunk, which
brings her voluminous rear to the forefront.
3. Anatomy
Without straying much from our reference volume,
smoothen her shapes by drawing them with sinuous
lines. In this position, her breasts should fall straight
down with the force of gravity, but since they are press-
ing against her legs they should spill out the sides, while
also maintaining their roundness.

To see where to put her trunk and the position

of her breasts, we can make a model of her
disfigured body like this one, we'll take out
the parts in front blocking our vision, leaving
ourselves with the parts in the rear.
 4. Line Work
Dress her in classic rhythmic gymnastics attire: tights,
stockings and simple sneakers. Drawing her wavy hair
with irregular lines makes her face look fragile and
unstable, which goes well with the situation. You should
also draw tears forming in her eyes to reinforce this idea.

The ribbon should be drawn to fit tightly

around her legs, tracing the volumes it cov-
ers. The wrapping creates small bulges form
where the ribbon cuts into her thighs.
5. Lighting
You can add depth by drawing shadows between her
trunk and legs according to the way they overlap. Light
falls on her rear, and from there on down shadows are
projected with greater density. Her neck area is com-
pletely covered in medium and heavy shade.

6. Coloring
The ribbon will seem thinner and lighter if you use a color border
instead of ink. Lighten it up until it almost disappears under the
heavy reflection on the outline of her arm.
7. Finish
The illustration ends up moderately toned in light and
discreet colors. One might note how easy it is to draw a
background with a few simple parallel lines in perspec-
tive, and then filling them in with color.
After Class

What would a college be without cheerleaders? You can

even find American cheerleaders in manga. We’ll put
the girl in a relaxed position to give the image a sensual
touch. She is stretched out, tired and sweaty, but happy
with what she’s accomplished. Isn’t that what cheerlead-
ers are supposed to do?

Of all our sketches, this is the one closest to our ideal, while the other
sketches are flatter and cruder. The perspective reinforces the
proximity between her and us. The pronounced foreshortening
highlights her attributes.
 1. Layout
You have to subdue the dynamic lines of her body to
perspective. In this case, bend the arch of her back ac-
cording to her posture. Afterwards, adjust the propor-
tions of her body according to the perspective.

2. Volume
Now it’s time to adjust the figure’s volumes. This will help
you place greater emphasis on shape. A clear example
being how the size of the nearer pom-pom differs from
the one further away.

131
3. Anatomy
At this stage, playing with your lines is crucial to main-
taining your base sketch. Use fine, graceful, and uncom-
plicated lines in the far part of the drawing, and thicker
lines with greater detail in the part that’s nearest us.

Here is an example of how to draw her hips.

This will help you understand the place-
ment of her legs.
 4. Line Work
Everybody knows what a cheerleader’s outfit looks like,
but don’t skimp out on adding elements. They give more
room to play with the scene: a body hugging top, two
pom-poms and, best of all, the way her skirt falls on the
parquet. Try to follow the anatomical lines closely.

Since the sneakers are the closest element

you can make the drawing more realistic by
giving them greater detail. In this case,
give her sneakers a logo. Notice how the
volume is adjusted.
 5. Lighting
Here the light comes from an area above her, so mark the
areas where there’s the most light and shade. Then, try
to adjust the volume of light and shade to indicate how
close they are to the floodlight.

6. Coloring
First, draw a simple parquet floor with parallel lines
following the given perspective. Once you've done this,
give the parquet a more manual treatment. A simple
color base that’s not too intense will help. On top of it,
add rub marks from either her skin or another element
to show the light that is being reflected onto it. The more
intense the color, the lighter the mark.

34
7. Finish
To tone down depth, use tones that are more intense and
accentuated. Project a bit of light on her top to lighten
it up, while giving her sneakers more shade. For this same
reason, her skirt and the soles of her sneakers are dark-
er. Lastly, take a look at her pom-poms, and eliminate
the ink border to emphasize and differentiate the two
elements of the same color because they are at different
distances.
After Class

This boy is a young basketball stud who trains hard, giv-

ing it his all on the court. We could think up a scene where
you see him as an introverted kid who is surprised at a
specific moment, or in the midst of playing when he has
an embarrassing accident. Or, we could catch him by
chance, when he’s having a rest after training hard fora
long time. In any case, the boy should be tall, thin and
wearing adequate sports clothing, so he fits the image of
a basketball player.

Here, he is sitting relaxed on the floor, with his legs stretched and looking
a bit cocky. He is showing us his rear while pulling up his shorts—and we
don’t know if it’s by accident.
 1. Layout
Begin by drawing the curve of his back, with his head
forward. His hips are resting on the floor and his feet get
lost in the depth, and the floor follows the perspective.
His left arm is behind his body, with his hand resting on
the floor in the foreground.

2. Volume
He is seen from a low angle, as if from the floor, which is
why you see the lower part of his head, thoracic box,
pelvis, and extremities. Draw the towel around his neck,
a reference to see the way it falls to his side.
3. Anatomy
This boy must be a great athlete because his body is in
shape, with well-defined muscles. As long as you don’t
go overboard with our realism, you can use anatomi-
cal details, such as bulging muscles, to make him more
attractive.

The figure needs heavy foreshortening, which is why you'll see a

big difference between the size of his hand resting on the floor
and the one on his knee—as well as his foot, which due to its
distance, appears very small. This effect occurs when you bring
the vanishing point (the image’s perspective reference) closer.
Since you’re looking at the him from close up, the depth is abrupt
and the perspective makes his legs look further away, and they
get lost in the background.
 4. Line Work
The character's attitude is a little unsettling. So draw an
expressive face, but make it appear as though he’s looking
out the corner of his eye. Is it some kind of complicity? Is he
daring somebody? Is it self-satisfaction? It doesn’t look like
he is pulling on the back of his shorts accidentally.

Whether or not the gesture was intentional,

creases are created when someone is pulling on
their shorts. One must be able to distinguish
the difference between wrinkles formed by ac-
cumulation, such as on the front, and wrinkles
produced by tension. Tension wrinkles break
out in the opposite direction of where his pants
are pulled, in this case where his thumb hooks
into the waisband.
 5. Lighting
Draw small shadows with irregular contours where the
volume of the shapes are hidden, since basketball courts
usually have various artificial lights and you can’t de-
termine a specific direction shadows. In this case, light
up what is closest to you (his back and arm), and dark-
en the body as it gets further away, as you can see on
his leg.

6. Coloring
Use color to give the basketball some texture, and make
it look more realistic by adding patches of color to its
surface. You can also reinforce its spherical shape by
putting highlights on the ball and circular shadows.

140
7. Finish
Generally speaking, the image is pretty balanced. His
shorts stand out because they’re deep red, but you can
tone them down a bit. The floor has a flat, polished look
by drawing color reflections onto its surface.
After Class

How about that! They know they’re being observed, but

that doesn’t seem to bother them much. They’re a uni-
versity couple, experiencing their first emotional rela-
tionship and adult romance. The park’s grass inspires
them to play and show their affection (and, why not say
it, primal physical attraction). As a starting point, we
thought of drawing a couple of students feeling each
other up. They could be on campus, in the classroom, or
somewhere secluded. One thing’s for sure, they’re going
to need a setting. Nature is good for us: grass and trees.

In this sketch, the students are interrupted at the height of passion while
lying on the grass. Ther’s some kissing and hugging but one thing leads to
another and suddenly their clothes are in the way. The girl is a bit alarmed
but the boy seems to be taking it in stride. He even gives the thumb’s up!
It's obvious they know the person who’s caught them the act.
 1. Layout
The figures are on a small hill, so make their legs trail
down the slope. One of his legs is behind the contour of
the hill, so you can’t see it. Begin by drawing his struc-
ture from a side-view. Then, inlay the girl on top of him,
and rest her knees on the grass.

2. Volume
Using the layout as a reference, it’s no longer necessary
to draw the volumes of the boy that can’t be seen. First,
draw the girl and then the parts of the boy that are not
covered by the girl, on the hill.

143
3. Anatomy
Due to the difficulty of drawing two figures in this posi-
tion, it’s best to draw them separately. You only need to
draw the side of the boy that’s visible. So draw him lean-
ing on a tree trunk, with the corresponding folds in his
abdomen, and flexing his leg with his foot resting for-
ward and downward.

tl") 7 Z
At voy yf
f Yi <6
\ Zp pe eK
\ —y ve 1 NL
Se ae oS The girl’s body is seen in the foreground and her legs
gain presence, as they come down the hill and get clos-
er to us. You should be careful drawing her hand feeling
his hair and the way her breast falls.
4. Line Work
At this stage, her bottom plays a bigger role as we draw
the lifting of her skirt. In addition to that, he is lowering
her panties, so every aspect of the illustration seems to
have the aim of showing her naked bottom. The boy’s
shirt is also wrinkled from resting his back on the tree.

The swirl of her skirt has a very evident

rhythm, but drawing it requires patience
because of the complexity of the folds. Her
outfit is inspired by the uniforms of Japa-
nese universities. So draw basic lines and
treat the main pleats of the fabric as if they
were smooth. Continue to mark each divi-
sion in the dress, and then give it its final
look.
5. Lighting
The main purpose of lighting in this drawing is to
highlight the girl’s body and the areas with bare skin.
The sun is shining bright in the sky, which creates
sharp contrasting shadows on the girl. Their contours
are well defined, especially the shadows projected on
her buttocks, shirt, and back. The contours of the
shadow on the ground are broken and irregular to
show that it’s grass.

6. Coloring
To create the background color, begin with the hill, sky,
and some clouds. Then, color the grass on the hill with
multiple stokes of varying tonal intensity. Next, add the
trees, which frame the background to give it depth. The
bark should be drawn by combining hard lines.
7. Finish
The image will be complete when you add the figures
and color them. Pay attention to the girl’srosy cheeks
and behind. Aside from that, the skirt’s print should be
in color.
After Class

If we’re looking for erotic images within the backdrop of

a study center, we can’t leave out locker rooms, where
students shower before and after sports. In this case, we
won’t have to think of a brilliant excuse to strip the char-
acters down—it’s what you would expect in a locker
room! There are a number of tempting settings; like the
benches or the showers. A situation like this invites us to
draw groups of half-naked boys and girls horsing around
(without going overboard, of course) or perhaps one of
the groups spying on the other.

The example sketch is a hybrid of samples above. It’s not clear whether
the boys will dare enter the girl’s area, or if they'll stay at the threshold.
We'll leave the continuation of the story to the reader’s imagination.
 1. Layout
The composition tries to be simple, but things get
complicated when you have four characters. The wall
divides the image in half, with the figures placed at
different depths within the scene. You'll need to take
the height reference in perspective and place them
accordingly.

2. Volume
Thanks to the frontal view, there’s no foreshortening re-
quired, or additional complications, when drawing the
shape of the figures. As long as you have a good layout
reference with the appropriate sizes, you can complete
each character using their basic sketch. You have to con-
sider that each character has a slightly different volume
than the others, apart from their different sizes, due to
the perspective.
149
 :

3. Anatomy
The boys are athletic and their bodies are more muscular
and voluminous than those of the girls. Since they appear
in the foreground, you should draw a more defined anato-
my for them with greater detail. Because there are multi-
ple characters, you ought to take advantage and draw
different physiques. The two boys are not exactly the
same; we can make their bodies different, as well as their
faces and hair. The blonde boy is somewhat taller and
wider than the brown-haired boy, which you can see by
looking at their waists, chests, arms and shoulders.

Because of the way you see the floor in perspective, their

moving feet are drawn at different heights depending
on where the figure is located. The floor is seen as an in-
clined surface, and although it is in fact flat, it looks like
a ramp. This is why the blonde boy, looks like he’s going
down a step. Draw them stepping at different levels so
it looks like he’s walking. The other boy, is walking to
the side with (right) his feet at about the same level,
which makes them look aligned and resting on the same
horizontal line.
 You can also vary the girls’ bodies. The long-haired girl
looks older, with sharper lines and long eyes, so give her
a more developed body. She should be taller, with a wider
“waist and larger breasts. The girl with pigtails looks
younger, with a round face and eyes, a smaller body with
soft smooth contours, and nothing particular standing
out. The attitude of their poses also helps determine their
age difference, one being self-assured, and the other shy
and embarrassed.

Turning the torso involves moving the tho-

racic box (and shoulders) along the vertical
axis, while keeping the hips and legs still.
To understand the turning motion draw the
appropriate folds on her waist. One has to
consider that the thoracic box and the pelvic
box are two rigid pieces, and the waist and
abdomen in between, is soft, flexible flesh.
4. Lighting
The boys’ bodies are drawn with greater detail since they
are in the foreground. The concept also applies to their
shadows, so draw a lot of small contours that adapt to
their frames. Then mark various levels of shadows with a
few stronger tones. The shadows are larger on the girls,
and adapt to the general shape of their figures.

5. Coloring
Instead of drawing acomplicated background, there is a sim-
ple light effect, which gives a shower atmosphere. Imagine
the rays of light passing through a cloud of mist formed by
the hot water, which results in a granulated, blue texture
reminiscent of a pool dressing room or shower.
6. Finish
The atmosphere created in the background makes the
floor disappear. This allows you to draw a group of peo-
ple easily, and eliminates superfluous elements. The
side-view of the wall allows you to draw what's on ei-
ther side of it, while also serving as a sort of border that
goes well with the intention of the scene.
Horror Ghost
Demon
Vampire Slayer
Witch
Invisible Man
Spider Woman
Horror

A cemetery wouldn’t seem the most appropriate setting

for an erotic scene, but we’re going to show that it has
more possibilities than people would think. We have to
come up with a fun and suggestive scene with a beauti-
ful ghost as the centerpiece. One element that we can’t
forget is the famous sheet or shroud ghosts in scary tales
and fables always wear. Additional elements can be other
| habitants of the cemetery, such as skeletons and zombies,
or perhaps nocturnal animals, such as bats. Whatever we
choose, our goal is to make sure the sheet doesn’t cover
too much of our ghost.

This sketch is more humorous than the others, because the macabre zom-
bie is reaching out of his tomb to pull at the ghost’s sheet. The problem
this poses is that you have to force all this motion into a small frame, so
that it all fits.
 1. Layout
Start by using a pronounced low-angle perspective from
the ground. In order for the figure to fit, it'll require fore-
shortening to make her foot area appear larger. As far
as the hands reaching out from the ground are con-
cerned, they should be noticeably larger in comparison
to the girl's body.

2. Volume
Construct the girl’s body on top of her skeleton by study-
ing the sheet’s tension and how she holds one end while
the zombie’s hand grabs the other. If you place your
point of view very close to where the hands are emerg-
ing from the earth, you can make them very big and put
them in the corner of the frame.
3. Anatomy
When drawing the girl’s body pay attentiont to how
foreshortening affects her legs and the influences of the
ground’s slope. This affects the positioning of her feet.
If you're careful drawing her feet, you can flex her legs
to show how her weight is distributed. This way her upper
body won't present additional complications.

In order to draw the zombie’s bony hands,

begin by drawing a very marked and rough
internal structure, and form the fingers.
Then, mark some lines and irregular bulges
to make them look like wrinkled skin.
 4. Line Work
The sheet’s volume should follow a pronounced fore-
shortening effect that advances toward the front of
the image, while at the same time depicts the tension
of having two creatures pulling at its ends. The part
of the fabric that the ghost holds close to her body
piles up and wrinkles differently than the part that is
stretched forward. Lastly, due to its proximity, the
cloth that is in the corner of the image should be larg-
er than the rest.

Do some preliminary background sketches

by drawing a cemetery with a very pro-
nounced perspective. The gravestones
should come out at chaotic angles as the
horizon curves.
Horror

Ghost

5. Lighting
The cemetery’s lighting should be strong with pro-
nounced shadows. So add black ink patches to the
background elements; especially on the parts that get
lost where the gravestones and other elements fuse
with darkness.

6. Coloring
Moonlight bathes the scene giving it a gothic atmosphere.
You can achieve this by showing the influence of the full
moon with dark clouds, and deep tones for the earth. You
can see the moonlight’s reflection on the gravestones.

160
7. Finish
The whole image is pretty dark, and you can clearly see
that the girl’s skin is not exactly human, or stopped being
so long ago. The atmospheric light tints the white sheet,
and the zombie’s hands are putrefying.
Horror

While demons are the most common villains (representing

evil across cultures) she-devils and succubi have become
the stereotypically sexy, evil supernaturally evil being.
What must our girl have in order to look like a she-devil?
First, she should have the basic equipment: horns, bat’s
wings, a tail, and the right attitude. Our demon is a mon-
ster with claws and fangs, but she’s also a sensual crea-
ture that tempts and seduces men. She can appear ina
provocative pose, or flying above our heads, but there will
always be a luxurious air about her.

This pose can seem too demonic to reflect what we said regarding
her attitude. Nonetheless, if we draw a malicious facial expression
instead of an angry one, the pose will look aggressive and violent
with a certain sexiness.
 1. Layout
Start by drawing the figure suspended in the air, as if
she were falling from a great height. If we draw her
wings as a reference, with lines similar to the rods in
an umbrella, you can imagine the way they open up
on her back.

2. Volume
Start by drawing the figure without wings, which are more
complicated and ought to be approached once we have
the body figured out. The figure is in perspective, as you
can see from the way her arms and legs align (look at her
knees), so you should also foreshorten her extremities.
3. Anatomy
You can exaggerate the foreshortening effect slightly by
adjusting shapes that are more pronounced. To do this,
redraw the figure’s silhouette so that it’s based on fluid
curves. The effect you're looking to create is for the chest
and legs to come forward.

The demon’s body is similar to a girl’s body,

only she has horns and wings. To go at it
step-by-step, first draw the girl’s body and
then her horns and wings, in addition to the
smaller wings that come out of her head.
The wings are in perspective, so draw some
vanishing lines as a reference.
 4. Line Work
\ When you’re finished drawing the demon’s details, give
her more realistic horns, and then add some background
elements to complete the image. Now, you can understand
her movement at first glance; it looks like she’s coming
down on us through the window.

EE

It’s simple to do this background in perspec-

tive, but you'll need rulers and a compass
to do it. The upper stained glass window has
a circle that should look like an ellipse when
drawn in perspective. First, draw the square
in perspective and then draw the ellipse in-
side it. 165
5. Lighting
The scene becomes more spectacular if you make a typ-
ical lighting bolt visible through the open windows. This
is what we call a dramatic entrance. It’s obvious that the
light falls on the demon’s back and its frontal view is
away from the light. The inside of her wings is much
darker than the color seen on the edges since light is
coming from the opposite side.

Begin by coloring the background in dark blue, and then

define the walls and shadows that dominate the image. The
lightning is reflected on the glass windows and a ray of light
comes through and crosses the image diagonally.

_————
7. Finish
Complete the image by painting the demon in the same
cold dark tones as the background, basically blue, vio-
let, and gray.
Horror

We’re going to look for the comical side of characters that

are usually quite sinister: the vampire and his archenemy,
the vampire slayer. This time we’ll give the vampire slayer
role to a young modern woman, contrary to the typical
scowling older man dressed in Victorian clothing or heavy
dust coats. Nothing original, but we may manage to give
the idea an unsuspected twist. In this case, we thought it
would be fun to use a miniature caricature of a vampire.

Among the “mini-vampire ambush” sketches this one has something

extra. On top of being surprised by a somewhat ridiculous vampire, have
him playing with the girl’s cleavage and jacket. This makes the vampire
funnier than if he were merely pouncing upon her.
 1. Layout
Start by putting the vampire slayer on her knees, with
her legs resting on the floor with her spine arching back
a bit. You're looking for an expressive gesture, like hav-
ing her open her arms with surprise when she sees him,
in the center.

2. Volume
Next, draw the vampire as if he were a doll, in terms of
its size and proportion. You must pay special attention
to foreshortening of her legs, and imagine the way her
right hand would grab the stake.
3. Anatomy
At this stage, finish by defining her gesture of surprise.
Her face, arms and hand positioning should reflect that
she's startled by the vampire’s appearance. Her hand
should grip the stake tightly, but the other naturally
opens with the gesture.

Here is a step-by-step example of how to

draw her hand tightly gripping the stake.
First, draw some reference lines over the
cylindrical shape of the stake (more like a
long cone) and try to visualize the way her
fingers wrap around it. Then make a refer-
ence of her knuckles and touch up the con-
tours of her fingers, defining their final
shape.
 4. Line Work
Here you'll use the volume reference to draw the little
vampire, and dressing him in a simplified aristocratic
outfit you can exaggerate the size of his cape’s neck and
the bow tie to add an element of humor and make a play
on his proportions. The little vampire is some sort of aris-
tocratic child and his hairstyle conveys this image, while
the slayer is an aggressive-looking outcast.

Her leather jacket and numerous accessories make

the slayer look like a cross between a delinquent
thug and a pop-star. To draw such detailed ele-
ments, begin by drawing simple shapes over refer-
ence lines. Then continue defining the shape of her
elements, and marking the space where the small-
est pieces are situated. Finish by drawing these
small pieces and fixing the details.
5. Lighting
Light falls on the characters from above, but only adds tones
to her hair and cast shadows on her inner thighs. There are
also shadows between the vampire and the slayer, but color
is what really separates the figures. Rather than shading her
leather jacket, add highlights, which will help you create
the leather’s wrinkles and texture.

6. Coloring
We can complement the illustration and strengthen her
ghetto-rock image by adding a tribal motif. Similar to a
tattoo, it evokes esoteric inspiration while still being mod-
ern and aggressive, whick makes the background more
interesting and the image better as a whole.
7. Finish
Finish by coloring the figures and positioning the motif
behind them. When coloring the slayer it’s important to
pay attention to the texture of her leather and scatter
reflections on the different accessories. As an additional
detail, use brown instead of black for the areas of the
jacket that are worn.
Horror

It's interesting how witches have undergone a change in

image over the last few years. They have gone from being
horrifying devourers of children to being young, attractive
divas in comparison to their wrinkled and disheveled
grandmothers. The young witch, or witch's apprentice, is
mellower and transmits naivety and kindness, and is usu-
ally accompanied by her pet cat and flying broom. While
we won't be drawing any cats, we will make use of the clas-
sic witch’s broom as an accessory.

Rather than just adding you're typical gust of wind to lift the witch's skirt
up, or finding a position to reveal the most skin, we can create an “acci-
dent” that leaves her a lot more naked than she would have expected.
 1. Layout
She should look like she’s flying on the broom, so draw
a basic sketch with bended legs, resting her weight on
her buttocks. Sketch one of her arms reaching back to
grab the broomstick, thus giving her the proper shoul-
der and back inclination for the position.

2. Volume
Next, make some reference lines to fully understand
where the broom would be and better represent her body
weight. Finish by drawing the volume of her legs and
groin area, and begin drawing a simplified version of
her hat and hair.
3. Line Work
Begin by drawing a matching skirt and corset. Since the
broom will end by stripping them, don’t trouble yourself
much designing her clothes. Draw one item hooked onto
the end of her stick and a piece of fabric tearing to shreds
as it pulls what's left of her skirt. What's important here is
that the fabric has tension, and that you see it pulling with
movement. This makes the scene dynamic.

4. Lighting & Coloring

We're going to fill the image with contrasting flat colors, and light-
ing will be very important to shape volumes. So, make the sunlight
come from above, and draw defined shadow contours on her hair,
below her hat, neck, under her breasts, and on the inside of her legs.
Then, shade the fabric when drawing her shredded clothes to rein-
force the tension. The details on her hat and wrinkled surface should
also reinforce the shadow contours.
5. Finish
As we indicated in the lighting section, the contrast be-
tween base color and shadows complete the drawing.
There are even areas of the drawing, such as her nose
and hat, that need touches of color to complement the
line work. The colors chosen reflect the clarity of the day,
and help you imagine the witch flying in the open sky.
Horror

Often the only thing that stops us from doing something

indecent or illegal is our fear of being punished. It’s easy
to sin, if nobody sees you in action. That’s why our mali-
cious side usually comes out when nobody is looking. The
attraction to being able to sin without punishment is the
basic premise behind the story of the invisible man. What
misdeeds might we commit if nobody were to witness
them? Scary thought.

In the sketch we've selected, the young and somewhat naughty scientist,
and his very willing assistant are going to make their relationship a bit
more transparent. What could be running through the doctor’s mind?
 1. Layout
It'll be very helpful to sketch a perspective, by placing
the horizon below where the drawing begins, and cor-
rectly placing the figures and the operating table. This
is a cross-shaped composition with the center being the
place where the two figures are in contact. In addition
to that, you'll draw a diagonal ray of light that will em-
phasize this. Also, remember that just because you're out
to draw the invisible man doesn’t mean you can leave
out his whole body. Now is the time to look at the per-
spective and foreshorten the figures.

2. Volume
The first thing is to map out the space with the operating
table and the floor, so you can approach the figures. Begin
with the girl lying on the table. Her volumes adapt to this
restful position and her breasts are shaped by the pressure
they exert on the table. With the help of perspective, fore-
shorten her legs. The most important thing to do with the
man is to deform the volumes affected by the low-angle
view, so his legs will look bigger and more robust. Adjusting
the point of view to the characters makes the observer see
them as if they were above, which gives them more power,
thus reinforcing the doctor’s figure.

179
3. Line Work
and Costume
This is another one of those illustrations without much in
the way of costumes. Clothes will only serve as minor de-
tails that'll help people recognize our characters’ roles.
For the girl, combine a simple face wearing a sober ex-
pression with a very voluptuous body. Her breasts seem
to spill out over the table and her arms aren't nearly
enough to contain them. Her buttocks stick out as if
they’re begging for the scientist to touch them. Give her
glasses to make her look more demure and intellectual.
For the scientist, all you need is a white coat and an ID
tag. Next, make his pelvis area disappear, which is where
the girl is looking. That way, it will look like she’s being
threatened by something she can’t see, which is even
more unsettling. Finally, model the rest of her body ac-
cording to the volume and foreshortening you've al-
ready marked.

When you draw the flask with the invisibility

potion, you must first draw the hand that
holds it, or at least sketch it to make sure you
place it at the right distance from the arm—
even if it’s invisible.
 4. Ink and
Lighting
Light becomes a fundamental element in the illustration’s
composition. Draw a diagonal ray of light that will spread
itself over the girl's body. The spotlight is intense and
creates dark shadows that shape the figures. Aside from
the figures and table, the rest of the image will remain in
darkness or semi-darkness, and thus exaggerate the
contrast in lighting.

5. Coloring
Color the entire illustration using green as a base. This
sets a sinister tone with traces of light coming from a
florescent light or strange laboratory light. Two tones
are enough to create a base color for each element.
You'll find the range of green tones most evident
in the shadows.

181
Horror

To create an effect of invisibility you

have to let certain areas “breathe” so you
can look through the character and the
objects that are behind him. Then, fade
the color in this area to create a slight
haziness on an anatomy that is begin-
ning to disappear.

Glass elements are also transparent

and reflect the potent light that is il-
luminating the image. So, add reflec-
tions to the eyeglasses and flask to
highlight this property.

Finish by adding a slight haziness to her body,

which serves to intensify the luminosity and sep-
arate the different planes of the characters. It also
affects our invisible man’s right hand, which is
exposed to the powerful beam of light.
182
6. Finish
The tones should match with the texture well. For ex-
ample, a light tone for the floor will separate it from
the depth of the background and give you a base for
your figures to stand upon.
Horror

Kumo means “spider” in Japanese. In Japanese fables,

you'll find supernatural creatures that are half woman/
half spider and go by the name of Kumo. Fear of spiders
and other insects has given way to myths and fantasies
about supernatural beings with insect elements who feed
off of human flesh. This type of the character is the most
difficult to treat as an erotic image, but we’re going to
try to make it suggestive and terrifying at the same
time...

An idea where the kumo creature appears showing her lower body would
be ideal, so we can see her arachnid half at its most striking. Seen froma
low angle, it’s a threatening image, with her legs dominating the frame.
On the other hand, her “human” half appears in a relaxed pose that’s
even provocative.
 S 1. Layout
02) Reproduce the pose of the chosen sketch, using a
CP) 6 base structure of a girl who arches her back and
f raises an arm. Where the hips and legs would nor-
mally go, draw an arachnid abdomen with eight
4 C. legs coming out of its sides.

() )
b O
4),
D
(S
() oS, & &.

\
©)

2. Volume
The girl’s volume adapts to the pose we've chosen. To keep
the figure from getting unbalanced by the difference in size
of its lower half, draw a round body, large breasts and a lot of
hair giving weight to her upper half. Forseshortening her legs
gives them an aggressive look, which you can accentuate by
making the ends sharp-pointed.

185
3. Anatomy
The only attire present are small adornments that help
play with the spider motif. The jewels she is wearing make
it known that there is a race of these creatures, or that
she’s received these jewels from servants that adore her.
Whatever the case, they give us the impression that this
creature has a brain and likes accessories, even if she
doesn’t need clothes.

Her legs are inspired by real spider legs,

although they look more compact, like the
exoskeleton of a crustacean. To draw them
with greater detail and have them remind
one of an insect, it would be excellent to find
some good references and apply them. Focus
especially on the shape of the joints and the
details of a spider’s head. Rather than draw-
ing long hair on its surface, made it look
spikier, so it resembles a shell.
 4. Lighting
Make the light come from above, so we can play with
contrasts and shadows on the lower part of her abdo-
men and make her legs more impressive. Meanwhile,
on her upper half, shade in her inner arms, breast,
and thorax to give her more volume and emphasize
her enormous breasts.

5. Coloring
A spectacular background would be to draw a spi-
der-web motif that can be repeated on various lev-
els. Start by making a geometric drawing of the
spider-web, and then copy it. Then, superimpose
various copies in negative (white on black), and
place them so they create depth, which you can im-
prove on if you make the lines lose their opacity the
deeper they’re set in the image.
 As far as the character’s color is concerned, you
have to look for a way of combining the girl’s
human flesh with the textures and colors befit-
ting of a spider's body and legs. Begin by ap-
plying different color bases: a pale flesh color
for her trunk and grayish-brown for the spider
parts. Go halfway in between by making her hair
violet, thus unifying the image. Then, add a
layer of more intense shading, to shape the vol-
umes. Continue by adding more defined light
and darker shadows, while adding effects on the
legs to give them more texture. Then, unify the
image even further by applying a veil of blue
that will bring all of the figure’s tones closer to
blue and violet.

Finish the image by adding strong light re-

flections on the spider's legs. Then, touch
up the areas that have been covered by
color and substitute the black line from
details like the highlights on her nipples
and jewelry.
188
6. Finish
Once you've integrated the figure with its background,
try to adjust the image's color to bring the tones closer
to blue and violet and leave it darker and more unified.
The illustration is finished once you're happy with the
look you've achieved.
Adventurers Treasure Hunter
Pirate
Gangsters
Queen of the Street
Cave Woman
Virtual Reality
Adventurers

Who says they’re boring bookworms? Our next character

is a treasure hunter. Years of studying, hundreds of hours
in the laboratory, and a weakness for dead languages
would seem to be in contrast with the possession of arms
license, abseiling, and leather. For this girl, any boring
old archeological study can evolve into a mission to save
the world from the fury of some Babylonian god. She’s
one of those girls who give meaning to the expression
“girls put up a good fight”. She’s an attractive character
because of the mystery and surprise that comes along
with her.

The previous sketches emphasized her glasses. Finally, we combined her

strengths and our most wild ideas for a more sensual and relaxed sketch.
Now, we’re on our way to creating our character.
 1. Layout
We’ll put our character in a circular composition, broken
by a vertical expression of action. Her pose also uses the
circle as base. In the center of this composition, throw her
breasts and buttocks together, as they are exposed toa
dangerous tentacle ferociously trying to rip her clothes off.
The curve of the tail and the swirl of her hair are elements
that make the image more dynamic.

2. Volume
The main difficulty inlaying the volumes is continuous super-
imposition of her body parts in a tight area of the image. It’s
necessary to leave enough space to shape the tremendous power
of her breasts and legs. Give the tentacle a sinuous trajectory,
adding volume by highlighting the tubular cone effect that will
define it in the end. The best thing to do with the weapon is inlay
a conditioned cone with foreshortening, which is easy once you
project the perspective.
3. Line Work
& Costume
Her clothing and accessories should reflect her duality
and her passion for risky activity. On one hand you find
the kind of hat and backpack that the typical tourist
would wear, but her leather boots and pants tell volumes
about her wild side. Pay extra attention to these ele-
ments. You'll also want to rip her shirt and expose her
anatomical development. It’s important to be careful
with her rope, if it’s not drawn with enough tension you
won't achieve the sensation of her weight dropping
down the line.

The hat’s hollowness must lend volume,

highlighting the effect of its shade. Her
pants represent the tentacle’s target as it
tries to remove them.
 4. Ink and
Lightning
Her gun firing is the focus of the drawing’s lighting.
The nearer an element is to this focus, the more it will
be affected and lose part of its outline. The fact that the
light is in the center of the illustration adds to the idea
of a circle of action. Contrasting lighting creates a more
aggressive image, which gives our drawing greater
strength.

5. Coloring
When working with contrasting lighting you have to be
conscious that the chromatic range you'll be using; it
must be constant with the source of that lighting. In this
drawing the firing shot lights up the character with a
strong and clear light. You should see the real colors of
each object in the shaded areas.

In this case we'll use color to emphasize the

elements you want to play a greater role in
the drawing. First, the malicious tentacle
that wants to rip off her clothing should be
treated with utmost detail, while trying to
capture the gelatinous texture of its skin.
Despite its danger, the color pink gives it
a bit of character, and takes away from the
drama of the situation and makes it more
comical. 195
On the other hand, the treasure hunter’s boots are, un-
doubtedly, a differentiating element that makes you look
at her through a different lens. The elaborate texture of the
leather shows the coarseness of the footwear and makes
her look wild. Leather boots never fail to hit the spot when
you're looking to dress up some beautiful legs. Her weapon
receives similar treatment.

Finally, create a background with a gold-

en, circular element which can be full of
esoteric symbols and inscriptions. This
helps situate the story in the greater con-
text of an archeological adventure full of
action, magic, and eroticism.
6. Finish
Once again, it's necessary to study the effect light
has on each element and transmit the correct tex-
ture of each material.
Adventurers

We can’t speak about adventures without mentioning the

ferocious pirates of the Caribbean! Their adventures in
classical literature always described romantic travelers
and bandits looking for treasure in remote and exotic
places. Pirates shouldn’t be depicted as vulgar looters,
but as free and adventurous spirits, whose passion takes
them to the limit, risking their lives plying the seas or
climbing a cliff to find their precious treasure. These el-
ements should all be included in one way or another, so
we'll imagine the pirate films and novels and try to trans-
mit those sensations in our sketches.

Here is a beautiful and aggressive pirate captain, who is brandishing her

saber and holding a gun nonchalantly. Elements include a treasure chest,
pirate flag, saber, gun, gloves, and her boots. There’s no doubt we have
everything we need to evoke a pirate’s romantic spirit.
 1. Layout
Start by drawing the basic structural lines of a figure
sitting, with her legs flexed and hanging in the air. Make
sure the position of her head agrees with inclination of
her back and make the figure energetically raise her arm
with the sword.

2. Volume
Since she’s a buccaneer, she should look sexy and dan-
gerous, so make her hair long with a lot of body ideal
(besides, it corresponds with the historical context). The
create the volume of her hair and construct the blocks of
her figure to make her voluptuous; you don’t want her
to look fragile. Also study the volume and contours of
the treasure chest.
 3. Line Work
Now, focus on defining the details of her costume, to-
gether with her hat and boots, which are the only arti-
cles she’s wearing. To make her more attractive and
realistic, it’s advisable to find information about pirates
and watch a film with this setting. Then, roughly draw
the wrinkles of the flag blowing with the wind.

To draw the hat and boots, begin by drawing

some basic shapes that adapt to the volume of
her head (the base of the hat) as well as her
legs and feet (the base of her boots). Over each
base, add wrinkles and details, which give the
materials of her costume their final look.
200
4. Lighting
The pirate’s skin is quite pale and the atmospheric
light makes the day look clear. So, don't add very
contrasting shadows to her body—only a few pro-
jected shadows, such as under her armpits, between
her breasts and on her inner legs. You will, howev-
er, see more shading on the flag and treasure chest,
where you'll project the figure’s shadow.

5. Coloring
Color the flag a dark red and use heavy strokes of darker
tones to indicate the folds and shadows. Shape the flag
by blending these strokes into each other. After doing
this a few times, you'll have the surface defined so you
can draw the skull and give it some textural effects.
 You should shape the volume of her body
and make sure her skin is really shiny and
smooth. Begin with a base tone, and then
add patches that go well with it and give
her skin color. The intension of the strokes
with which you add patches of color must
be to shape the volume by blending the
colors together.

The effect on the skin is still a bit coarse, but

keep working on the volume, by adding
some highlights to get some more tones.
Continue blending the strokes until you
achieve a smooth look. Then, add details
like her nipples.
Looking at the detail of how to
colored her face, take a step-by-
step approach to each stroke.
You should apply each layer one
at a time, then fade them to-
gether so the changes appear to
be strong, but subtle.

Use more direct lines on her hat, since you

want to create wrinkles and imitate its tex-
ture. Play with the faded contours by draw-
ing an irregular surface. Meanwhile, create
the feathers with long strokes and blend
them profusely, and then add finer lines
with greater presence. The contrast be-
tween strokes will help imitate the proper-
ties of different objects.

203
Adventurers

Pirate

When drawing the skull and crossbones on

the flag, consider the undulations drawn in
the previous steps. First, draw the general
shape with white strokes and then the shad-
ed areas with filthier strokes. This gives the
sensation that the drawing follows the sur-
face of the fabric’s folds.

There are various textural effects on the

chest's metallic surface. You can see this on
the bright highlights made with broken
edges (as with chalk), and the lines drawn
in dirty white to make it look worn and
scraped. The reflection of her flesh and boots
are superimposed over the patches of shad-
ing, which in turn draw irregularities over
the surface, like small dents.

204
6. Finish
As everybody knows, the skull and crossbones is the pi-
rate’s emblem, a symbol that we can’t forget and which
fills the image. The result is very evocative, which is what
we were after from the very beginning.
 Adventurers

<a Yakuza are the famous Japanese gangsters, known for

x intricate tattoos covering their bodies. The most common
motifs are tigers, demons, and dragons. Tattoos are a very
useful aesthetic resource when doing a gangster story.
So, when we investigated doing an image about gang-
sters, tattoos ended up taking over the entire image.

The composition of the scene is based on the double figure 8, or 88,

formed by the dragons, and the X-shape drawn by the figures. The fig-
ures are in the center of the image, but our eyes follow the course of the
dragons, as they wrap themselves around the figures.
 1. Layout
Place the girl in a horizontal position, floating, with the boy
behind and the dragons drawing the double figure 8. Then,
sketch the boy with a gesture that relates to the fact the
other figure is floating.

2. Volume
It can be difficult to draw the figures intertwined. In this
case, the best thing would be to draw the boy completely
and draw the girl on top of him. Then, erase the lines that
are covered by the girl’s body, leaving her figure in front.

207
3. Anatomy
The boy’s position shows that he’s doing something to
the girl. With a hand raised and showing his palm, it is
as if he were projecting some force on her belly, while
his other hand behind—but not touching—her head. His
face shows utmost concentration and the gesture seems
inspired by martial arts exercises.

When drawing the tattoos, make sure they adapt

to their anatomical shapes and curve according
to the surface of their bodies. The motif gets
slightly deformed when curving like this, be-
cause otherwise it would look too flat and not
be well integrated with the figure.
4. Line work
The only clothing the characters have are their tattoos,
although they’re not really clothes, we can say they
“dress” the figures and they don’t need to wear any-
thing else. The motif of the tattoos is very intricate, as
we ve seen, and the high level of definition forces us to
reproduce each detail and the hundreds of scales
covering their bodies.

The detail of the dragons is identical to the

tattoos. In both cases, you should start by
sketching their contours with simple strokes
full of rhythm and fluidity. Then fix the con-
tours up a bit and add the basic shapes of
the elements that stand out, such as the
spurs and horns. Finally, add the smaller de-
tails and the scales within the areas you've
marked.
Adventurers

Gangsters

5. Lighting
There’s a powerful light in the center of the image,
2g
Oecd
between the two figures. The light is very sharp and fi
definitely not natural, which gives the scene an ar-
tificial atmosphere. Besides helping to strengthen
the intention of the boy’s gesture, focusing on the
hand motioning towards the girl’s belly (and pro-
jecting the form of the dragon that crosses the
image) it also helps you separate the figures, so
you don’t confuse their contours.

6. Coloring
The background element looks like an enormous disc or
gong. This will frame the figures in an exotic, Asian
atmosphere. The symbols within the disc are based on
the symbols of the I-Ching, the eight Chinese elements.
The head of the dragon is identical to that of the drag-
ons in the tattoos.

210
7. Finish
Once you've integrated the background, make sure the
lighting of the disc and its shading matches the illumi-
nation of the figures, which stand out much more when
framed against such a dark background.
Adventurers

The queens of the racing circuits are the sexy models

representing racing teams. They wear striking clothing,
with bright colors and daring designs (obviously, they
always don the colors and logo of their team and
sponsors). Our queen is wearing a dress inspired by her
team. She’s not a mere escort, she’s an adventurer, and
pilot who doesn’t limit competition to the racetrack.
She’ll battle her rivals on the street, abandoned high-
ways, and faraway dessert landscapes.

This character walks on the wild side of life, she takes part in illegal
competitions, so she should look rebellious. In addition to being a girl of
action, she exploits her sexiness to the max. The pose where she’s on the
car’s hood seemed appropriate enough: she’s flaunting her body, but
promising a whole lot more. You can’t trust her innocence.
 1. Layout
You must sketch the perspective of the girl on a hood
with the help of references indicating the hood’s van-
ishing lines.

2. Volume
The girl is pretty strong, so make her a bit wider with a
voluptuous, athletic body. Her hip and pelvic box should
sit well on the hood’s surface.
3. Anatomy
Her anatomy is wider than your average pin-up girl.
When combined with a simple, short hairstyle, she is
characterized as a girl of action more than as an object.

On a separate sheet, study the car’s volume

and end by integrating it with the figure of the
girl. Use photos of real race-cars as references
to make your details realistic, but your base
must always be a perspective drawing that
you'll then adapt to the references. In this case,
you'll draw the volume in perspective and fin-
ish the details according to our references.
4. Coloring
The clothes she’s wearing are elastic and body-hugging,
like a semi-transparent plastic, so you only need to draw
their contours, closely fitting the anatomy they're cov-
ering. Instead of folds and wrinkles, use reflections and
transparencies.

For the same reason, begin by coloring the

clothes by substituting the black contour
lines for colored ones. Continue applying the
colors you'll see beneath her transparent
clothes (nipples and g-string). Then, color in
the clothing leaving some areas more trans-
parent and adding highlights on top. Finish
by drawing the same logo and motifs that are
painted on the car.
Aaventurers

Queen of the Street

Next, color in the car, factoring in that it’s a

Once you've finished giving the car its
racecar and has bright colors and decoration.
highlights and reflections, add the acces-
After applying the base coat, scatter highlights
sory elements. Put the logo on the hood and
and add some textural effects. Highlights are
sides of the car, and apply a flat color. The
especially noticeable on the windows, such as
logo will integrate itself better with the car
the moon on the front window and the head-
if you treat it with the same reflections and
lights. Add highlights to the base color and
highlights. Finally, consider the space the
blend it in, so that there’s a hazy area between
figure occupies, and add patches of color
the super highlights and the base. Add high-
to show the areas where her body is lean-
lights to the headlights and on top of it paint
ing on the hood.
a layer of details and color.

216
5. Finish
The illustration is finished once you've integrated the
figure on the car. The color of the girl’s clothes and lo-
gotype is the same as the car’s, making it look somewhat
like a uniform.
Adventurers

Wild landscapes are incomparable backdrops for

great adventures. Hundreds of stories take us to the
most savage times in human history; we even invent
possible situations depicting human communities
struggling for supremacy on earth against mon-
strous species, outside of a real historical framework.
Prehistoric times have always been full of mystery
and wild exuberance. And, there’s nothing more ex-
uberantly wild than a cave woman.

We'll focus our sketches on this struggle between species. The idea is
to put our cave woman ina bit of a bind—thanks to a bad-tempered
saurian. At least, that was our starting point. So, the sketch we've
chosen presents a brutish cavewoman on a saurian that’s seemingly
pleased with this harassment. Obviously, it’s a peculiar humanization
of a lucky beast.
 1. Layout
Whenever you have various figures interacting, it’s
important that we inlay them correctly, especially their
points of support and contact. You must be careful
with their sizes and proportions. Our saurian has a dif-
ferent anatomical base than a human, so it would be
helpful to take a look at one of their skeletons before
inlaying it. To draw the girl, begin with her back, which
is foreshortened and twisted, especially in the pelvic
area where the neck meets the cranium.

2. Volume
The dinosaur’s volumes gives you a solid foundation to add
the cave woman on top of. Go back to basic geometric
shapes to construct its figure. When caricaturing the di-
nosaur, you should greatly exaggerate this synthesis of
volumes. Once, you have the volume of the dinosaur, move
on to the girl, paying extra attention to the points where
her figure leans on the giant lizard.
3. Anatomy
You'll have to draw the girl's body by adapting her position
to the way it leans on the dinosaur. It'll look pretty natural if
you have her raise one leg, resting her weight on the other,
and using her arms to hold on to it. She arches her back, in
accordance with the position of her arms.

To correctly draw the way the girl arches her

back and raises her rear, imagine her pelvic
and thoracic boxes as if they were parts of
an accordion. If you understand how the
base of the volume behaves, you can bet-
ter define her back and shoulders.
4. Line Work
You're not looking to win any praise from fashion design-
ers when drawing the cavewoman. Four pieces of skin will
be enough clothing for her body. By raising her hips ex-
aggeratedly, you'll show all her naturally splendid gifts.
Exaggerating her buttocks in the foreground will make her
figure a heck of a lot more exuberant.

Now’s the time to grab your reference and

draw the dinosaur, deforming it into a cari-
cature of itself.
 5. Coloring
Begin coloring in the girl by applying a dark skin
base throughout her figure, and then cover it with
a lighter tone using thick strokes, while leaving
traces. The idea behind leaving these traces is that
by fading it all in we begin shaping the volume and
anatomy with tonal shades. Add more specific lines
with different tones of shade and light and fuse
them all, thus shaping the anatomy.

You'll do something similar with her face,

the difference being that here you'll mark
smaller details and intervene further at the
end when you draw shadow contours. You'll
add highlights to the prominent areas and
define her features with a more intense flesh
color. Finish by adding details with other
colors, such as her eyes, mouth and teeth.
Begin the dinosaur by giving it some basic
shape, blending it in completely while following
its volume. Then, add some strokes of a darker
tone to mark shadows and wrinkles and blend
them in. Then, lighten things up with a lighter
tone and finish shaping by adding some high-
lights. Complete the dinosaur’s flesh with dark
patches making a reptile motif.

223
Create the specks and dots of her leg-
warmers with dark strokes that break their
contour to look like hair. Then superim-
pose patches of various tones and fade
them together, so they mix without dis-
appearing completely. Finish by break-
ing the legwarmer’s contour to make it
look more like hair.

The dinosaur’s skin has full tone and filthy

shading, giving it a more leathery look, like
the hard skin of a reptile. Make use of the
shaded areas to achieve this with textural
effects. Use hard and broken strokes on the
highlights to emphasize this aspect further.
On top of all this, draw patches and top it
all off with some highlights.
6. Finish
The illustration has wound up very red, especially the
dinosaur. Make sure not to use pure black, but lighten it
up some. As you can see on its nails and striped pattern,
adding some highlights keeps it from looking too flat.
Adventurers

Technology advances with giant leaps, and scientists

often find inspiration in ideas taken from the world
of science fiction. Among other things, Cyberpunk
deals with man’s relationship with machines, often
questioning the boundary between them. It’s a very
popular genre in manga; after all, it offers a vast field
where you can work with hundreds of storylines. It’s
a genre that’s always growing and enriching itself
like the technology it’s based upon. Virtual reality
and its applications are part of today’s world and the
focus of our next drawing.

The idea for this illustration is to have two characters, one real and the
other virtual, facing each other in the same setting. This forces us to
create two different atmospheres under the same roof. The sketch we’ve
chosen goes a bit beyond what’s commonly meant by “staring too close
into the television.”
 1. Layout
Begin with a circular composition divided into two
sections. Use a low-angle perspective, bringing the
horizon closer to the floor. You'll have to take the hori-
zon into account when sketching the main figures.
Whenever dealing with low angles (or high angles with
a raised horizon), you have to be extra careful when
foreshortening—no matter how slight it may be. This is
because it forces us to deform the figure in an unusual
way as compared to eye line shots.

2. Volume
Continue with the dual division of space. To draw the
boy sitting, first we'll draw the chair. At the same time,
develop the perspective that'll help us draw the circular
pool. For the figure within the “screen,” draw the sphere
to have a circumference serving as the floor.

227
3. Anatomy
There are three main points to comment on regarding
his anatomy. You should draw his facial features tak-
ing into account the slight low-angle perspective and
his backwards-leaning position. The positioning of his
arms allows you to see his armpits and extended torso,
which is an area that is sometimes treated carelessly
since it’s not often visible. You should get references
before inventing something that ought not be there.
Lastly, a well-studied volumetric account will be the
perfect base to correctly foreshorten his leg muscles.
Next, draw the girl by imagining you're seeing her
through a glass window that’s above your head. It’s
important to place her hands in the correct position to
support her weight, which is fundamental in order to
create that leaning sensation.

\o
To not be limited by only two figures, enrich
the illustration with some playmates; after
all, eroticism can also mean abundance.
 4. Line Work
& Costume
“Clothing” is rather trivial in this illustration and as
a background element. The sensors placed on his
body correspond to points used in acupuncture. The
background appears as an element that will fuse with
the darkness of the room, which gets deformed by
the same spherical sensation that you studied in the
initial sketch.

5. Ink & Lighting

The tri-dimensional screen is also a powerful source of
light. The light falling on the boy’s body depends on
how close it is to the light source. The entire lighting of
the illustration follows this principle. The screen is the
solar center of the system made up of the different ele-
ments in the illustration.

229
 6. Coloring
Once again the screen is important since its light bathes
all of the elements with its color. First, paint the figures
looking at the light source, using at least two tones. In
the case of the boy, the change in tones will help inte-
grate him with the background illumination.

Follow the same method when painting

the background, by working the same
color scale. Break it down until you've cre-
ated an atmosphere where darkness has
devoured the details on the walls. Using
circular brushstrokes will heighten the
spherical character of the objects in the
composition. These strokes not only add
color; they can also be a constructive ele-
ment.

When uniting the characters with the background,

you realize how important it is to use the same color
palette in order for the image to be well integrated.

Finally, create the effect of the tri-dimensional screen.

Make the area of the sphere, serving as the floor, more
solid by making it more opaque.
230
7. Finish
As a final detail, add various screens offering different details of the
images our character is visualizing. Once again, you will reiterate the
spherical nature of the illustration when positioning these screens
around the boy.
Fa nta SY Sweet Angel
Elf Sorceress
Princess
Slime
Warrior
Monkey King
Ogre
Little Fairy
Fantasy

Angels are associated with kindness and good; it’s

hard to imagine an angel with bad intentions. So, we
definitely want to avoid anything that could be inter-
preted as lewd conduct. The wings are the key element
to draw. They can be used as decorative elements
when folded, or they can be dynamic when drawn
open to show movement.

ay

The sketch of the flying girl above is quite attractive, but too dynamic for
what we're looking for. To best characterize the “Sweet Angel,” rather
than drawing a spectacular image, it is best to use a more discreet com-
position. Even though she is naked, the angelic character should not show
too much.
 1. Layout
The ideal pose is similar to that of a glamorous 1950s pin-
up girl, where being nude is presented in an elegant man-
ner. The wings create a decorative frame around the figure,
so start by drawing an outline, with just a few lines to give
us an idea of the space they'll cover.

2. Volume
Volume forms the figure within the framing structure. There
is hardly any foreshortening, so overlap the leg blocks and
the twist of the torso, inclining the thoracic box.

235
3. Anatomy
Next, do her hairstyle by drawing long, voluminous waves
that are perfect for hiding some of her wings, giving our
character more presence. The waist area is more difficult
since the thoracic box is slightly turned and her left-fac-
ing shoulder is inclined. This is detailed in the sketch and
description below.

The right arm, which is leaning straight on

the floor, is tricky since it is difficult to judge
where her shoulders are and how their incli-
nation affects her abdomen. If you're not
sure where her shoulders are, it’s best to
draw a sketch of where her hand rests on the
floor and draw a vertical line up to the
shoulder.
 4. Line Work
Since the position of her arms and legs keep the key areas
covered, we can draw a nude angel while maintaining
an air of naivety. The strategic placement of her hair
falling in front of her shoulder helps as well. The wings
require elaborate line work, so shaping them with a lot
of feathers at different lengths gives her depth.

The ribbons highlight the volume of her

hair and legs by outlining their shape.
While drawing the ribbons, imagine the
way they would wrap and go down each
of the cylindrical shapes.
5. Lighting
The feathers should have a flat finish, with barely any
contrast or shading, to make them look light—except
for the parts that are right next to her. Here draw a few
shadows. In addition, draw shadow contours on the
ribbons to help mark the creases.

6. Coloring
We can take some weight off the image by changing the
black outline of the feathers to one color so it isn’t as
visible. Next, we can give her life by adding color and
highlights to her eyes.
7. Finish
We've chosen a range of simple tones to color her that
when combined will match nicely. For example, the color
of the ribbons is an off-yellow, which is a complementary
color of blue.
Fantasy

The Japanese find elves to be sexy with their exotic

features and funny pointed ears. There’s an entire
genre of erotic fantasy manga that exploits their
appeal. Heroic fantasy easily mixes medieval ele-
ments with science fiction and video-game style,
meaning illustrators have all the freedom they need
to design elements and creatures. The fact is an elf
allows us to introduce the theme of magic and draw
special effects that make the image more attractive.

aw
wre

This pose is very dynamic and includes the key elements to effectively
describe the character's nature. It’s a scene that makes good use of the
space. It shows the elf holding a type of truncheon (a magical weapon or
object) and performing a gesture with the other hand, which seems to be
directed at the fantastic creature (or magical effect materializing like a
fantastic creature) that’s coiled up around her.
 1. Layout
The sorceress is about to attack or cast her spell, making
it necessary that her pose depict her to be on guard or
just about to jump. Separating her legs and flexing them
slightly helps transmit this sensation. Separating the
arms from the body also adds dynamism.

2. Volume
Pull back her arm holding the truncheon and foreshorten it
quite a bit. As you can see by the way it’s overlapped by the
volumes of her shoulder, the arm and forearm get smaller the
further her hand trails away, which is far behind her body.
Likewise, the arm that’s in front must be drawn slightly larg-
er, especially her hand.

241
 3. Anatomy
Draw parallel lines outlining the shape of the truncheon,
since you'll need it as a reference to draw the fingers of
her right hand wrapping around it. The magical energy
makes the elf’s hair fly, as if being blown by a powerful
gust of wind. The waves of her hair, and the locks falling
to the side, give a lot of strength to the scene.

Seen from the front, an elf’s eyes are not parallel but
their axis is a bit inclined. Their elongated ears have
a similar inclination. Seen from a three-quarter’s
perspective, it’s enough to slightly incline the lower
line of the eye downwards and have the rest of the
drawing follow that inclination.
Zhe
4. Line Work
Since there’s no problem adding anachronistic elements
over others inspired by medieval times, her outfit ends
up quite original. On one side, her left arm is covered
with leather protection connected to a shoulder pad,
which seems to complement the truncheon with its spear
or trident point. On the other, a sexy bikini is too sophis-
ticated to have historical relevance, but it sure lets you
show off her body.

To draw the two-headed dragon easily, begin

by drawing reference lines showing how its un-
derbelly hides and reappears depending on the
way it turns. It is always opposite to the closed
curves marked by its spine, while the scales on
top come out like small spikes.
5. Lighting
Use artificial lighting that is coming from a very local-
ized area for the tip of the outstretched trident. Then
draw heavily contrasting shadows on the sorceress’ skin,
marking the side that’s hidden from the light. Then, draw
the locks of her hair with the contour shadows.

6. Coloring
To color the image, follow the indications of contours
with different tones depending on how the light passes.
Color in the shadows and give the figure its final volume.
Then, make the blade shine, illuminating the elf’s pro-
file and giving off green reflections.
7. Finish
Finish by adding the two-headed dragon, which you want
to look illusory, as if made of light. To do this, color it using
light, saturated tones, which will also diminish its opacity,
making it translucent and immaterial looking.
Fantasy

In fantasy stories, princesses are usually objects of

desire for all sorts of monsters, who kidnap and carry
them back to their dens like a treasure. If it weren’t for
princess-kidnapping monsters, we wouldn’t have res-
cuing heroes. In erotic stories, these monsters are more
lustful than covetous, which is why they jump the prin-
cesses wherever they catch them and grope about their
bodies with their claws, tentacles, or whatever other
strange elongated probes they might possess. Well, per-
haps they just devour them in the end, but the scene still
has room for the princess to lose her clothes and find her-
self in an embarrassing situation and dangerous situa-
tion.

This composition forms two crosspieces (the girl makes an X with her arms
and feet apart, as does the monster with its tentacles). You can see the
girl is having a hard time, and is not sure what the monster’s intentions
are. Is he just going to gobble her up, or will he first titillate her with the
probes coming out of its mouth?
 1. Layout
The princess’ pose makes it obvious that she’s been immo-
bilized into a humiliating position, held by the wrists and
ankles. Sketch the creature by placing it behind at a dis-
tance which lets us play with its tentacles a bit.

2. Volume
Now, you can understand the figures much better, especially
the creature, which in this case is a carnivorous plant with an
enormous mouthful of teeth. The teeth are based on conical
shapes. Draw its tentacles, so that its undulations look unbal-
anced. In other words, rather than drawing parallel curves,
demonstrate that they’re able to move independently.

247
 3. Anatomy
The volume sketch will serve as a reference, so you can
correctly draw the inclined posture of her body and the
outline of her back. Show the way it joins the curve of
her buttocks and becomes part of the figure’s contour.
Two other lines describe the tucking and overlapping of
her anatomy; they are the thoracic box and hips, which
also get lost inside her body.

The volume of her breasts spills out over her

thoracic box, making it complicated to draw
her trunk. Not only that, but her hair and head
cover part of her arm. Draw the volumes of the
areas you can’t see in order to make it easier
to add anatomical details, and then erase the
lines that aren’t of any use.
4. Line Work
Finish drawing the girl by covering her body with jewelry
and transparent gauzes, which don’t really cover anything.
The jewelry has intricate designs, similar to symbols or runes
and typical of the fantasy genre. Finally, give the plant
greater detail on its leaves and nervure, and a bit more def-
inition.

This step-by-step of the gauzes in the wind

is based on reference lines that mark the
wind’s direction. Over these, draw a wavy
line representing the end of a silk piece in
movement and finish by redrawing the con-
tours with greater definition.
5. Lighting
Light effects help add depth to the carnivorous plant's
mouth, by shading in the roof of its mouth and back of
its tongue. Draw some dense shadows on the inside part
of the girl to show how the light comes from just above
and then falls on her back.

6. Coloring
The gauzes draw capricious shapes, so imagine them
to be very light and diaphanous. To illustrate this
better, eliminate the black bordering in favor of a
soft color. Then, make the color inside transparent,
vaguely exposing the areas underneath them.
7. Finish
Complete the image by adding highlights to the metal-
lic pieces and white-twinkling to the precious stones.
Then give the carnivorous plant some irregular white
lines, which should look like transparent spittle or
streams of saliva... It looks like it’s hungry...
Fantasy

What is a slime? Slimes are very strange creatures that

come from the fantasy world of role-playing games. A
slime is a sort of animated corrosive gelatin. It’s a magi-
cal being with special properties, the most evident being
its ability to move despite looking like a puddle of green
slobber without arms, legs, or tentacles. Although it’s a
shapeless being, it’s given a simple face with eyes anda
mouth. Since it corrodes and dissolves inorganic matter
leaving live matter unscathed, slimes are fun for stripping
adventurers, who are surprised by their enveloping attack.

We've looked for humor in all of our sketches. Our goal is to create
a funny, kind slime with the features of a friendly pet, even if its
intentions are pretty perverse. This sketch involves a girl that looks
a bit like an adventurous warrior, not to mention that drawing some
armor comes in quite handy.
 1. Layout
Position the girl with her knees on the floor, with her
weight falling on the tips of her toes. Her spine is arched
back and her hips are raised, which exaggerates the low-
angle perspective even more.

2. Volume
Her volume blocks should respect the foreshortening of
the low-angle perspective. The scene unfolds as if seen
from the floor, making her legs look more voluminous in
the foreground, while getting proportionately smaller
the further and higher they are. Draw a reference of the
slime’s head on the girl’s shoulder.

253
3. Anatomy
Now, try to better define the girl’s body by shaping
the volume sketch so that the contours are sinuous and
convey her flesh’s elasticity. It’s especially important
that the lines of her legs are fluid and have rhythm, in
addition to accentuating the foreshortening. From this
position her nipples jut out from the profile of her
breasts, pointing outwards and forming a 90 degree
angle to the center of her chest.

In such an angular position, drawing her

breasts can complicate visualizing what
they're hiding. In this case, make things
easier for yourself by first drawing the girl’s
thoracic box, neck and head, including
everything that would be covered by the
volume of her breasts. Afterwards, draw her
breasts and complete the drawing.
4. Line Work
When drawing the slime on the girl’s body, you
should imagine it as a gelatin with the elasticity and
consistency of a sticky chewing gum. Her short hair
and winged diadem help you understand that the
girl is a warrior. In any case, draw some armor, as
if the metal managed to withstand the corrosive
effect of the slime better than her clothes could—
which are long gone.

Her armor has complex relief work. Since

the shape of the pieces must adapt to her
body, begin by drawing a simple base,
without relief, following the volume of
the area they are covering. Afterwards,
draw some reference lines to work over
the curved surfaces, adding the relief
and detail work.
5. Lighting
Now, show the light coming down on the girl from above
by drawing the contours of the shadows projected by her
bangs, armor, and especially her shoulder pads. Keep in
mind that it doesn’t come down perpendicularly; instead,
her left side is a little more illuminated, which you can
show by shading her face and arm on her right side. Then,
shade in the area of her inner thighs.

6. Coloring
The shading used on the slime’s head helps define
its roundness. On the rest of the surface, where the
slime covers and spills itself over her body, the con-
tours are drawn with different tones of the same
green, and are very irregular as they stretch and join
together at their leisure.
7. Finish
Make the image more luminous by using a pale base color
for the figure, which contrasts nicely with the bright color
used for the shading. By the same token, the slime has an
abundance of white highlights and a light-green base
color, and shaded areas, which are somewhat more satu-
rated, but not dark.
 Fantasy

A warrior in action should be beautiful and attracting all

the attention, but there’s a creature stealing the show. It’s
ugly, tiny, and somewhat repulsive—although friendly
and charismatic at the same time! We can’t help but smile
when we see this lustful imp who is content just to have
the warrior pay it some mind, even if only to sock him
one. It’s a cheko, a charming creature that does whatever
it can to get close to pretty girls, which sometimes gets it
into some trouble. When an illustration includes a little
animal, or monster beside a pin-up girl, it’s to make us
laugh and serve as a counterpoint to the naked beauty it’s
accompanying.

This sketch transmits the message that the warrior is attractive and
powerful—something the cheko goblin has found out for itself. From the
image, it could be inferred that his snatch of her bra is the reason why he
is about to be smacked. But what's more interesting is that this gesture
says he’s at her mercy. She could keep hitting him, but she stops because
258 even she finds the situation ridiculous.
 1. Layout
First, sketch the warrior’s armature, with her knees on
the floor; she’s raising her left arm and getting ready to
hit the cheko with her right. Using the girl as a reference,
inlay the cheko figure who is making the universal ges-
ture for peace.

2. Volume
Draw the contours of the shapes constructed in our inlay,
then develop the figures’ volumes. Once the figures shape
is defined, add elements like her hairstyle and the out-
line of the locks falling over her shoulders, as well as the
reference of where to position their facial features.

259
3. Line Work
The warrior transmits power, so the way she holds the
cheko is forceful. She doesn’t need to make much of an
effort, because she has more than enough strength to
keep it up in the air for a long time. The cheko’s face is
designed to look friendly, but unattractive. To achieve
this, draw the cheko’s “normal” face, then touch-up his
eye so you can see it’s badly swollen.

The detailing of her gloves adapts to her

figures and joints, so draw their reference
like an x-ray of her bones. Over this sketch,
define the shape of each piece and the way
they connect, to give the impression that
they’re functional objects.
 4. Lighting
As you can see from the shading on the left side of
her body (trunk and leg), the light falls from above
although on a slight angle. To make the cheko’s skin
look like dark, leathery hide, draw a number of small
irregular shadows and contours.

5. Coloring
To color the metallic pieces of her armor, begin by ap-
plying a light-gray base and on top of the armor, then
use some brush strokes to cover the metal’s surface with
different tones for shading and highlights. The patches
of color look like more realistic reflections after you've
blended them togetherwell.
261
 The cheko’s clothing looks like leather armor with a matching belt Next, fade in the outline of the strokes and blend in the shades
with a large buckle, which could be the uniform of some goblin of gray. Then, add fine white lines over the leather’s creases, break-
army. Use a dark base for his entire outfit except his buckle. Then ing them as if they were made of chalk. In order to color his belt
apply wide strokes of various gray tones to simulate textured buckle use the same process as we did the girl's armor.
leather and the reflections of light.
262
6. Finish
Finish the illustration by adding stronger and more de-
tailed highlights to the metal and jewelry. Paint some
dark patches on the cheko’s face, so they look like bruis-
es and black and blues.
Fantasy

The classic, chinese novel Journey to the West, describes

Monk Chen Xuanzang’s pilgrimage to India in search
of Buddhist scriptures (also known as Tripitaka) in his
long journey to India in search of Buddhist scriptures.
He’s accompanied by three disciples, one of which is
the Monkey King. All three agreed to help him on his
travels as penitence for their past sins. The Monkey King
is a very charismatic character that has left its mark on
hundreds of manga stories.

We've decided to pay homage to him by highlighting his most playful

side. The sketch we've chosen is without a doubt the most dynamic and
mischievous.
 1. Layout
Whenever there are more than two figures interacting in
a drawing, it begins to get complicated because of the
sheer number of lines you might have while planning the
drawing. First, study the scene’s space, and map out
where to place the characters. Then, go about capturing
the character's movement. Finally, we'll mark out the
proportions of the figures. With so much information it’s
important that you’re as neat as possible to not smudge
the scene.

2. Volume
The most difficult thing to capture in scenes with
various characters interacting is the space between
them. It is important to show exactly where each one
lies and their points of contact. When looking at vol-
ume, it’s important to think about how they’re
going to interact. You have to be sure of the forces
exerted on them. Ifyou take all this into account, it
will be easy to draw the volumetric sketch correctly.

265
 3. Anatomy
This is the most difficult stage of the scene because you
have to build three different anatomies. Begin with the
Monkey King, who is the center of the scene and determines
the positioning of the other two figures. His anatomy is
somewhat different from a human’s, although with a very
similar base. His arms and legs are different than a human’s
in the sense that they're much bigger and longer in com-
parison to the rest of his body, which appears to be to have
a slight hunchback.

e
+

'
f
‘
3
1

The girl on the Monkey King’s back assumes a bent po-

sition which means her anatomy must undergo some
heavy foreshortening. Her feet are a lot closer to you than
her hands, which trail away from the viewer as she grabs
onto the monkey. The naughty thing about this pose is
that by raising her buttocks as high as possible, you're
fully exposing this extreme perspective.

266
 The last figure to draw is the girl on the monkey’s knee.
Her point of equilibrium is where she makes contact with
the monkey, and her body weight falls on that center,
leaving her in an unsafe position. In this case, the view-
er gets to see the girl’s breasts thanks to the inertia of
the movement.

4. Line Work
& Costume ck
Once you successfully enlarge the figures, the next step
is to decorate the practically naked girls, with subtle Sar
strokes of an outfit to cover key areas. Do the same with
the Monkey King by giving him a couple of his usual ac-
cessories, like the monk’s rosaries and a magical cane.

267
5. INK and
Lightning
In this exercise, use light and shade to treat the light and
texture of the scene, as well as to give the scene greater
movement. The Monkey King’s body is covered with hair
and exposed to a heavy wind. When shaping light and
shade on elements with a hairy texture, you must accen-
tuate the fringes. You must also take the shadows pro-
jected from one body onto another into account, thus
acknowledging their contact and proximity.

6. Coloring
You can use color to create three very different fi
characters. The first thing will be to differentiate the =
two girls, which can be done in a very simplistic way
by making use of very standard archetypes. On one
hand, you have the fair skinned girl with blonde hair.
You'll bring her tones closer to albinism to exaggerate
her iconic role a bit more. On the other, you have the
exotic dark-skinned girl with dark hair.
7. Finish
Color the main character with shades of warm red. Red
helps center the Monkey King in the composition and
exaggerates his own iconic presence. Red is also the color
of animal passion and strength. For the cloud they’re on,
use a tone far from the classic blue cotton sky to make
the illustration look more fantastic.
Fantasy

Some creatures are so dangerous, they are feared both in

heaven and in hell. A creature like that has to be a freak
of nature and capable of terrifying even the bravest of
men. Many manga stories portray such a beast as an ogre.
The idea of a reckless ogre entering a fantasy kingdom to
grab the palace’s greatest treasures is very attractive. In
this case, there’s no bigger treasure than the princess.
Our enormous ogre capriciously satisfies his desires with
the most beautiful heiresses of heaven and hell.

This is a classic group image with a triangular composition, but structure is

broken slightly by playing with lifting and dragging. The ogre is not a del-
icate being, so it’s logical that he won’t treat his captured princesses very
carefully. Combining the ogre’s inate rough personality with a sensual touch
creates a scene full of suggestive poses—with a focus on nudity.
 1. Layout
The triangular composition for this illustration will
include three figures. The ogre is in the center of the
image, but to keep him from stealing attention away
from the princesses you must distance one of the girls
from the main group and place the second on the
other end (on top of the ogre). By separating the
princess from hell it allows for imaginative room to
play with the background.

2. Volume
The next challenge is to show the ogre’s size. As the body
begins to take shape, you should show the volume of a
corpulent body with a mountain of muscles. The princess
of heaven wraps her body around the ogre’s giant arm,
and due to her position you have to pay attention to
foreshortening her torso and legs.

271
 3. Anatomy "
Next, develop two completely, different types of bodies.
The beautiful princesses are thin and stylized, with stan- ——s
dard measures that are well proportioned. The ogre, is a a Ect
mountain of muscles, and is much bigger than a human
even when hunching over. Despite this, you shouldn't
draw more muscles than necessary; the secret lies in fol- 7, ee
lowing a nice anatomical base and increasing the size
and proportion of the muscles. The ogre’s simian nature
is easy to achieve with a stooped posture and elongated
arms and legs.

Dae!
 4. Line Work
& Costume
Next, give the princess of hell and the ogre barbarian at-
tire, such as animal skins and jewelry. The ogre is wear-
ing studded wristbands, which help toughen up his
appearance. Then, give some texture to the clothing by
adding hair. Finally, add horns to make the character
more animaiistic.

The princess of heaven is wearing fine and del-

icate clothing like, silks and gauzes which are
much freer in the breeze.

273
5. Lighting
This is a daylight scene, which means shading plays an
important role in indicating the volume of the foreshort-
ened areas, such as the ogre’s body, which is doubling
over. Shading the princess of hell’s right arm helps us
understand that she’s leaning back on it.

You have to be careful when shedding light on the prin-

cess of heaven's face, which is upside down. Here, the
challenge is to illuminate a face in a way that’s totally
opposite to what we might be used to, so you must put
aside any preconceived notions and focus on the vol-
umes of the face and cranium.

6. Coloring
The fantastic nature of the characters gives us total
The background is a reflection of the char-
liberty to choose their skin colors. Choosing varied
acters, and uses their range of colors as a
tones for the princesses emphasizes their very dif-
base. First, create a sky with the princess-
ferent origins. Painting the ogre in a dark and neu-
es’ contrasting colors, using shades be-
tral color conveys that he comes from a totally
tween blue and pink. Lastly, make the
different world than the beautiful girls. Next, make
rock in much, more neutral and contrast-
the princess of heaven’s gauze transparent, which
ing tones.
makes it much more ethereal, and add some marks
on the ogre’s skin. It’s very important to respect the
volumes of the ogre’s anatomy. Finally, give more
character to the animal skins, worn by the princess
and ogre, by giving them some pigmentation.
7. Finish
The figures in this illustration are basically two-toned. So,
use some white to highlight the volume of the princesses’
flesh and thus differentiate their bodies, which are much
brighter than that of the beast, which is matte.
Fantasy

Fairies are, without a doubt, closely connected to

the world of dreams, fantasy, and eroticism. Usually
represented as beautiful miniscule women, and as
spirits of nature who are equipped with the exuber-
ance of Mother Nature. Manga, especially erotic
manga, tends to exploit their fragility. Fairies end
up being victims to the most lustful games imag-
ined. After all, who hasn’t played with a butterfly
or little bug knowing you held its destiny in your
hands?

The pose is easy to recreate; because it is a frontal perspective, though

the range of difficulty will surround the additional elements within the
illustration. Our fairy illustration will be tied to nature, but will also be
influenced by modernist posters that fuse manga with Art Nouveau.
 1. Layout
Whenever working with a frontal perspective, composition
becomes extra important. Composition alone can determine
whether something is interesting image, by bringing the
viewer into the image. Here, the layer is a classically cen-
tered, triangular composition, with action coming from the
outermost parts (on both sides) of the figure give the illus-
tration movement.

2. Volume
Here’s where things get real interesting. You must foreshorten
her arms and legs to perfection. With frontal views, successful
foreshortening determines how interesting of an image you'll
create. When drawing volumes, it’s extremely important to con-
sider a character's position in relation to the horizon. Practicing
foreshortening and perspective is the basis of developing an
understanding of space and perception.

277
3. Anatomy
& Costume
When drawing her anatomy, it is important to consider
her character in relation to mother nature. Start with a
base of a stylized figure evoking a fairy’s fragility and
grace. Then give her exuberant attributes worthy of
Mother Nature: large breasts and powerful hips, which
are both tied to the image of fertility.

The wings are inspired by the shapes of

insects. The veins are very defined, evoking
Modernist glasswork such as lamps and
glass windows, which are also inspired by
the world of nature.
4. Line Work
Next, continue with the idea of a Modernist approach as
you finish the line work. For example, this image is inspired
by Alphonse Mucha’s posters, as done by many famous il-
lustrators. There are two main areas of focus: her shape
and the ornamentation surrounding her; they are both in-
fluenced by the Modernest perspective. First, pay great
attention to her body being well-shaped, so go over the
contour lines progressively until you achieve a noticeable
difference between the lines inside and the outline. Next,
use basic forms of nature as a source of inspiration to dec-
orate her body with jewlery (e.g. a climbing plant for her
breasts, a beetle on her belt).
Since the motif within the circles is a bit complex, use a
fairly basic approach: by only drawing half of the motif.
Then, all you have to do is invert its mirror image. You
can do it easily on computer, or flip over the page you've
drawn it on and trace it.

Next, use the same inspiration to finish the composition

by adding a background based on sinuous forms, which
stays true to our original idea. Floral motifs are the foun-
dation for the edging.
 5. Lighting
To keep the lighting simple and convenient, use zenithal
lighting. It lights her entire figure without large con-
trasts, which looks very natural. Now, you must be ex-
tremely careful while detailing all her anatomical
elements. It’s important to take a simple approach while
working on large features in the main volumes and soft-
ly detailing them. The shadows projected by the orna-
ments help create the effect of a third dimension. The
interaction between the light and the various materials
helps us create each texture.

6. Coloring
For this type of treatment, begin with large patches over a
flat color to serve as base to begin shaping with color. It’s
interesting to begin with soft colors, not too saturated or
clean. Next, work those patches and model her anatomy and
slowly bring up the color intensity and contrast. It’s good
to avoid the color black when shading, and to use comple-
mentary colors when shading naturally.
 Getting more specific with the details now,
her face is young and sobbing, so we'll
flush her cheeks and work her gaze to
achieve an effect that heightens her ex-
pression.

For the background it’s important to choose

a neutral color within the color range we're
using, so it doesn't “swallow” the figure,
which is the center of the image.
7. Finish
Saturating colors allows you to distinguish between the
different textures of the materials, whether they be skin,
hair, golden ornaments, or the gems used for her jewelry.
Favorites Dolly
Siren
Policewoman
Shower Scene
Vamp
Perseus
Favorites

Dolly has an artificial body, but is filled with spirit and

capable of coming alive and moving, just like Pinocchio.
The doll is a common fantasy in manga for boys, satis-
fying our desires. Stories abound of artificial girls who
casually fall madly in love with their owner. When draw-
ing the doll character, artists try to highlight her artifi-
cial side and depict that she is dependent on somebody
who is not around.

Sitting still, quiet and stable, she could be compared to a marionette

that’s been left perched on a chair. The hieratic expression in the eyes
and the setting depicted in the sketch transmit her sense of loneliness
and abandonment.
 1. Layout
We'll draw a fairly simple composition, with the figure
sitting in a slightly rigid position. This is achieved by
drawing a straight vertical axis for her back, with her
upper thighs perpendicular to it. Although the cushions
are very soft and voluminous, her knee joints should
make a right angle.

Ae
™
\ /

2. Volume a
The doll’s breasts aren't big, but by squeezing them between ——-—
AN
iss
her arms they fall noticeably forward and voluptously overlaps. re
Next, you'll carefully draw the pelvic box and foreshorten the
legs, since they can be a bit complicated when seen from the
front. \\ | K=

287
3. Anatomy
The intention is for the figure to resemble a delicate
porcelain doll. We'll give her stylized lines, especially
at the waist and legs, which are very slim. The hands
can be a bit tricky. As you can see, her hands do not
intertwine, but they’re very close. Finger positioning
can be confusing if not treated carefully. Her fingers
are holding a ribbon, in order to look natural, we must
draw the position of her knuckles and phalanges as a
reference and continue defining the outline of her
fingers.

In order to make her face appear more like

a doll’s, add her eyes, mouth, and a flush
on her cheeks for patches of color so they
look painted.
4. Line Work
Over the anatomical drawing we should draw some
joint lines, to display the areas where her “doll parts”
connect. The goal is to draw a rigid anatomy that isn’t
as soft as flesh, but does not look like the solid blocks
of a wooden doll. The end result should resemble flexi-
ble plastic. Her accessories (the ribbons, gauzes, tulles,
lace cushions) are typical of the clothes wom by these
erotic dolls.

The details are overloaded in this image:

the lace of the cushions, the gloves, the
curls in her hair. To draw these details, we
must begin with a simple reference, such
as a cylinder that can easily be adapted to
our desired shape. Using this reference,
we can draw details by following its sur-
face circumference.

AN (AS

Wa:aye
Ne
)
5. Lighting
To best display the natural volume, bulges, and wrin-
kles of the cushions and bows, shade them with very
defined lines. The shading on the doll’s body is also
heavy and well-defined, thus conveying a smooth
and artificial surface.

6. Coloring
i
b FS Cy
Wow obi

The cushions are drawn by contrasting areas of light and

dark, using white and a single background color. We’ve
colored the cushion’s contour lines and lace edging,
giving it a more ethereal air.
7. Finish
The colors used in this image are soft and dull, while
seeking a heavy contrast between light and dark. To
achieve contrast without using dark colors, leave the
light areas in white and color the shaded areas in a soft
tone. For her skin tone, a pale, matte flesh-color makes
her look plastic.
 Favorites

| (me
4 dey, ae

a i.

There are countless legends of their tremendous power,

and voices capable of dropping the chastest of men into
their arms. Millions of mariners have fallen for their tricks;
while their tail gives them away, it’s difficult to resist their
beauty. In the world of manga, the chaste western siren
is combined with perverted attributes that put this lethal
beauty in her proper place.

We had two options for this image. On one hand, we had a cold and
disconcerting image of her coming out of the water, and on the other
a more playful siren. Finally, we decided to fuse the two of them to
create a balanced and appropriate way to arrive at a simple, but
elaborate, drawing.
 1. Layout
Foreshortening her body and the way her shoulders tilt
will set things into place for the rest of the steps.

2. Volume
Next, adapt volume to the drawing as we usually do. Con-
sider the placement of her hands, which are resting on a sur-
face, and continue to emphasize her differentiated shoulder
height.

293
3. Anatomy
The goal of this illustration is to simulate a manga pin-up
cover with elaborate facial features. So, stick to the basic
manga guidelines: big eyes and small features that aren't
very exaggerated. Then, give her a voluptuous body.

To get a better understanding of her foreshortening

cut her body at the waist. This way, you'll see the de-
tail of her hips and how they’re built.
 lig ax

4. Line Work
Ifyou draw details on the areas closest to you, then it will
separate them from the other parts of her body (e.g. the
ring on her right hand and tattoo). To add detail,draw
her wet hair, which is stuck to her skin, and play with the
weight of her ornamental element.

It is important to animalize the siren. So,

build her tail according to perspective; luck-
ily, it’s simple and won’t give us too much
trouble.
 5. Lighting
You can use the more or less finished pencil sketch as a
base. Whatever technique you choose, the end result will
consist of finishing off some of the details with ink. In
this case, use outdoor lighting. The water reflection, to-
gether with the reflection of the sun, will require a light
and clean palette. To achieve the tone between mild and
aquatic, play with cold and warm tones, while always
taking the lighting into account. Then, use a frontal, light
source and white light for a background.

6. Coloring
Follow the lighting model below to color her body elements,
which starts with her flesh. Since she is part fish and part human,
enrich the siren’s skin with tones ranging from orange to pink.
You should also make sure you don’t go overboard with the
contrast.

After each stage of color and volume, down-

grade and shape her face. Then, color the
white of her eyes with a cream color, so they
don’t stand out too much. To give her a re-
alistic smile, follow a similar process, but
shape her teeth with light. Then, finish by
adding some hair falling on her face and an
intense white light.

296
 Next, focus on her body. At this stage, draw
the tattoo on her arm over the flesh color and
keep it from being totally flat by adding
light. Then, give her hair a bit of illumina-
tion with sharp white contrast.

When coloring her tail, keep to the same dark

tones as used on her hair. This guarantees a
certain chromatic coherence. Then, paint the
central part with brighter colors. Then, finish
her tail by adding texture and patches of color
that look like scales to make it more realistic.

Next, focus on working transparency effects and translu-

cent materials; her top is a good example. Basically, the
downgrading from light to dark that’s used is more pro-
nounced, and when it is time for shaping you can give it pout ,

a crude finish with a bit of texture.

 Next, elaborate other elements with less contrast
to enrich the image’s tones. Light affects the vari-
ous elements in the drawing in different ways. Her
skin, metallic adornments, and jewels all require
different treatments. To make metal look realis-
tic, you have to play with the reflection of the el-
ement beside it.

Then, cover the siren’s body with tiny droplets of

water, making her look fresh and humid.

Finish up by illustrating the background,

which should be in line with the lighting
sketch. Begin by downgrading light and
dark tones that are cold and gentle.
7. Finish
Playing with a different finish, such as adding ornamentation
with ink, can make the image more attractive. You can find
beauties like this one in the furthest corners of the world...
but they might be the last you'll see.
Favorites

A policewoman, dressed in her commanding uniform, is

an erotic image for many manga lovers. These powerful
keepers of justice keep us healthy amd safe from harm,
but are they safe from us?

This is one of the book’s most difficult illustrations. As you can see in the
sketches, they all include some complicated elements and show the offi-
cer in embarrassing situations. The sketch we've chosen has a clearer com-
position and is the most obvious.
 1. Layout
Situate the three elements by taking perspective into ac-
count, and give more importance to the policewoman
by placing her above the rest. Then, put the violator fac-
ing the reader, and mark the inclination of the police-
woman's hips and back.

2. Volume
Next, define the basic parts of the motorcycle while stick-
ing to the perspective by adding volume to the figures.
Keep their position and foreshortening in mind while
doing so. The man should have a homogenous form,
while the policewoman’s volume should be drawn ac-
cording to her curves.

301
3. Anatomy
Next, roughly sketch the man’s body while respecting
his proportions. Then, draw the officer carefully since
she'll be showing off her attributes a lot more in the end.

To make her body more tangible, use her panties as

an example. Since they're being raised, they exert
pressure on her buttocks. Represent this by apply-
ing pressure on this area; doing this makes the
image more erotic and realistic.
 4. Line Work
Now concentrate on her uniform. In this case we’ve found
references to help us. Apply gravity to her entire outfit,
to show its weight and how it hangs, except for her skirt.
Then, treat its volume as if we were crumpling a piece of
paper.

To better understand the effect of gravity on

her clothes, take a closer look at his raincoat.
Notice the character’s position and what
happens when he leans like this; the arrows
indicate where the volume is directed.
5. Lighting
The goal is to create a pin-up scene without a back-
ground, making the end result closer to classic manga
than anime. Lighting and ink work will depend on the
kind of finish you want for the drawing. If you want a
cleaner and neater finish, trace over the sketch with very
fine ink lines. Then, do a preliminary light study. In this
case, light is coming from the front right side.

6. Coloring
You can use more natural colors since there isn’t any
artificial light. Start by mixing the skin colors. Contrary
to the aesthetics of anime, you should blend the various
skin tones. This creates a more believable shape that’s
richer in tones.

Next, arrange patches of color according to pro-

gressive, color intensity. Finish by adding light
creams and white where the light is greatest. You'll
gain volume by downgrading the patches.

Then, carefully shape the different parts of her

face. In the subsequent steps, add shadow tones
and volume. After adding the light, develop her
features and elements.
Give all his clothes a matte treatment (without white), for
a more realistic effect. Next, you can construct the mo-
torcycle with references of each and every one of its parts.
You should only add white to shiny materials like leather.

So examine the step-by-step of how to

create metallic or glass elements. The first
step is to apply a medium base tone. Over
this, you can shape them by adding soft
light and shading. This example shows the
entire process and finish. The reflection of
the nearest elements makes it look realis-
tic, and you can achieve this by giving ita
slight touch of whatever color is being re-
flected.

305
 vitoc
> \ Y!
AVUTELEi‘

Policewoman

Glass is another factor that gives body to

an image, whether it be the headlights, her
glasses, or the windshield. The glasses and
windshield can be more or less veiled.

First we'll add a base color for the light, then

the interior shading. We'll mark its radials with
strokes from large to small. We can add lights
once we have the interior volume solved. We'll
give a nice finish and add white highlights

306
7. Finish
The scene couldn’t be more evocative. The thief is beat-
en-down by the policewoman. There are some thing one
shouldn’t mess with.
Favorites

We won’t have to wreck our brains trying to figure out

how to strip the main character this time around. To
the contrary, we’ll have to find something to “cover”
her up a bit. The shower is a limited scene, although
elements like soap, bubbles, vapor and towels leave a
lot of room for insinuation. We’ll have to show her en-
tire body, following the esthetic of the other exercises.
The most typical composition would be vertical, with
the girl taking a shower upright, while avoiding a pose
that’s too static.

This sketch is interesting because of it’s vertical, diplay of her body

weight, and the position of her legs, but especially because it’s an ag-
gressive and provocative image. The girl looks at us while playing with
the showerhead, and is making a suggestive gesture.
 1. Layout
Sketch the figure while concentrating on the play with
the showerhead. The girl is bent slightly and her legs are
flexed in a natural position. In this situation, sketch the
volume of her breasts since you're going to need them
as a reference when you draw her hands.

2. Volume
You have to consider three things when drawing her vol-
ume. First, note the effect on her breasts when she push-
es them upwards, as well as the postion of her arms and
hands while doing so. Second, consider the way her body
leans against the wall; she is resting some of her body
weight and becoming a bit unbalanced. Finally, note the
way her foot rests on the floor, supporting part of her
weight. Draw the sandal on this foot to understand how
it rests on the floor.
309
3. Anatomy
Since her sandals barely cover her toes, take the trouble
of drawing them correctly, especially the foot she’s hold-
ing herself up on by putting her weight on the front. Her
hair is wet, so we'll draw its volume as if matted, with
her bangs falling from the weight of the water. Begin
drawing the shower hose wrapping itself around her leg,
as well as the part that’s wedged between her breasts.

When drawing her breasts, notice how their

volume spills out when pressed with both hands
and how their mass shapes around the emerg-
ing showerhead, which is made of a rigid ma-
terial. The soft areas give in to the force, as
we've shown with arrows. This is the reference
you should keep in mind when drawing the
anatomy of her breasts.
 4. Line Work
There really isn’t any costume because it doesn’t make
sense to take a shower with your clothes on, so look for
a pose that crosses her legs and hides her genitals. You
will later cover some parts of her body with soap and
bubbles. The props that give us most play are the
shower and shower hose, which is already wrapped
around her leg and now extend it to the faucet, thus
completing the drawing.

The background is simple but realistic. It has a lot

of fine parallel lines, so it’s good to use a good set
of rulers. Draw the background separately, and con-
sider the limited space of the shower and details like
the fountain and drain. Then, trace it together with
the figure, as you can see in the pencil drawing
where they’re integrated.
5. Lighting
Lighting is pretty subtle in this scene, with light con-
trasting shadows in the more hidden areas like the
armpits and under the chin. The light comes from
above and the shadow projected by her breasts is a
bit more noticeable than the rest. As for the rest,
with the exception of the effects on her hair’s vol-
ume, it’s interesting to add some highlights to her
skin (since her skin is wet).

6. Coloring
Color in the background before the figure, so you have
a clear idea of the atmosphere. Since you already have
references of her body position, the area she’s leaning
on and how her skin touches the wall, follow the girl's
silhouette and draw some faded patches of color on the
tiles reflecting her skin.
To color in the girl's hair and skin, begin by chang-
ing some of the black contour lines to color (such
as her flush marks). Continue by filling in each
area with its corresponding base color and begin
shading. Within each color, there are tones of
varying intensity, thus marking light and dark. By
blending these patches of color and creating tran-
sitions, you're shaping volume and giving each
surface its final look.

Draw the soap and bubbles with color, be-

“ginning with patches of opaque white.
Then fade them to make them appear
transparent as they lose density. Bubbles
can be drawn with fine, white, contour
lines topped off with some tiny reflections
of her flesh.
 Next, color the metallic pieces so that the contrast
between the dark shade and heavy reflections
help make it look like polished metal. Then, give
it a base color and then add patches of shading.
Finally, break the contours of each patch, so it
looks unfocused and add some white highlights,
by drawing what looks like reflections over the Next create a chromatic effect on both the faucet and
metal’s surface. hose. When drawing rub marks and reflections, you
should consider the shape of the polished surface
and, if it has various parts, their boundaries and
where they connect. This allows you to build up hazy
shadows and reflections. Intense highlights give
metal objects their final touch.

314
7. Finish
The scene has turned out to be quite luminous, with soft
tones and a lot of white predominating, while also play-
ing with light and volume. The girl’s hair stands out since
its an intense pink.

SE
I
OS
rae

TRE
PANE
PS
ES

PT

et Deel
Favorites

The vamp is one of the most erotic characters from the

world of horror. Initially, her role was limited to being
the famous Count Dracula’s concubine. Not only that, but
she shared the role with various other vampires. After all
the Count is a hoarder who turns beautiful maidens into
vampires and takes them back to his castle where they
end up becoming creatures of the night. She’s gained
importance over time, and mostly thanks to her success
as an erotic icon. Let nobody make the mistake of think-
ing they harbor some goodness for having once been
human, they’re as cruel as their master, or perhaps even
crueler, and they love playing with their victims before
finally biting into them.

This vamp has just pigged out! All you have to do is look at the elements
in the scene to understand there's a whole story here frozen in time. We
have traces of blood (with some dried on her lips), the victim’s skull, and
her relaxed position. There is also a detail of the mirror where we can see
the reflection of a vampire slayer, while the vampire’s body is not reflect-
ed (didn't you know vampires have no shadow?).
 1. Layout
Draw a rough sketch of the figure and the elements
around it, to take a step toward telling a story with an
image. In the mirror, draw the figure of the vampire slay-
er coming down the steps in pursuit of the vamp.

2. Volume
| Finish drawing the vamp’s body, which is frisking about
on the floor with her guard down, satisfied from her re-
cent feast, and ignoring the vampire slayer reflected in
the mirror. At this stage, begin to indicate the hang of
the curtain covering part of the mirror and some of its
main folds.
 3. Anatomy
Although among the legion of the walking dead with
corpses for bodies, the vamp maintains a healthy looking
figure with flesh that wouldn’t give her away except for
her pale skin color. Her breasts are voluminous, which to-
gether with her hips, make for a very suggestive figure,
she is a tremendous woman with an overwhelming body
that contrasts with her childlike facial features.

The other girl in the image, the vampire slayer, looks very
small in the mirror. To show her detailed anatomy, draw
her bigger on a separate piece of paper first.

318
 4. Line Work
After dressing the vampire slayer in a separate drawing,
reduce it and trace it into its position in the mirror, while
integrating the other elements of the image. Then, make
part of her head disappear to simulate the effect of the
lantern she’s holding in her hand.

There are various elements in the illustration

to play with, such as the meticulously detailed
mirror, and the hanging curtain with its long,
bunched up folds. Another object that calls
attention is the skull the vamp is playing with;
its reflection can be tricky if you do not know
how to invert a point of view. As you can see
here, the reflected skull shows the opposite
side of the original one.
Favorites

Vamp

5. Lighting
As you already saw when rendering, the vampire slayer
is holding a lantern in front of her, which makes her
reflection appear to have great brilliance. Study the
scene's illumination with that in mind, since a lot de-
pends on that lantern. The background gets lost in the
darkness, and makes the mirror and the girl lying on the
floor gain presence.

6. Coloring
Begin coloring by applying very dark, almost black,
background colors and paint a scarlet layer on top of it
to show the sheet. The strokes of color must follow the
direction of the drawing and the folds, which, from the
top, fall in the shape of vertical cones, and then take on
capricious forms as it touches the floor. Make sure to
account for the space occupied by the vamp and apply
a shadow base.
320
The background of the mirror is like a drawing with-
in a drawing. First, draw what is seen in the dark-

n by showing the intens ty of the oO lantern, mak-

ng part of the figure disappear. Finally, draw some
splashes of blood that reveal what’s happened in the
room and help define the mirror’s plane. Lastly, we'll
add more strokes to the lantern’s shine, making it
more visible.

WN
The process of coloring the vamp’s body is pretty simple. It’s enough to take a
methodical approach and work the entire length of the body, while advancing
gradually and looking at the image as a whole as you go step-by-step. First,
apply the base tones and fill in the figure. Then, add the main contour shadows
and touch-up wherever you want to add greater contrast with vigorous strokes
of color. Then, go over it all, blending the transition areas and working the de-
tails until the figure is finished.
7. Finish
Generally speaking, the use of dark tones makes the pale-
ness of her skin stand out a lot more (the bright red blood
dripping from her mouth helps this contrast with her
skin).
Favorites

Perseus was one of the greatest heroes in Greek mythology,

and a lot of the hero archetypes in fantasy stories are based
on him. He was a man capable of standing up to the most
terrible monsters and frightening the Gods themselves.
Among his greatest achievements, you'll find the slaying of
Medusa, the woman-snake creature with snakes for hair, who
could convert men into stone just by looking at them. Perseus
used his shield to guide him; its reflection decapitated Medusa
without their eyes crossing. We debated whether to show him
in a combative or relaxed state, where he can put his arms
and armor aside and refresh his naked body.

This scene seems appropriate. We haven't witnessed the fight, but the
bloody sword, shield, and helmet are signs that he’s survived a difficult
challenge. There is also a girl by his side as part of his reward, or perhaps
a princess he had to save...
 1. Layout
Placing the seated figure requires at least some ref-
erence lines, so imagine the seat his pelvic box is
resting on and how his legs should be. Then, draw a
reference of the shield’s position before putting the
reclining girl next to our hero.

2. Volume
Keep the reference of the seat and shield and use them
to draw the figures. You should be careful with the way
you position their feet, so we can see the characters are
on the same plane. In the same way, the girl’s arms and
the arm and hand with which Perseus touches her head
are also crucial for the figures to be well integrated and
natural-looking.

325
 3. Anatomy
Since the anatomies of these characters are a lot more detailed
than those of other exercises, draw them separately, then trace
them back into the final pencil draft. Perseus’ body is inspired
by classical sculptures to emulate the ancient canon of beau-
ty, as you can see by the solidity of his figure. The hero’s torso
is impressive, while being realistic, as you can tell by the nat-
uralness with which he adapts to the sitting position. Both his
abdomen and the overlapping of body parts, such as the hips,
are represented realistically.

Logically, the more detailed and realistic the more you're

advised to refer to references or ask someone to pose for
you (with a bit more clothing, of course). The girl is also
very realistic, as you can see by the way her breasts hang
by their weight and the way the lines of her back and
shoulder blades are drawn.

326
 4. Line Work
Once you have their anatomies figured out (the most
difficult aspect of this drawing), you can go ahead and
integrate the figures into our final pencil draft with
their costumes and accessories. The cape is going to
stand out because of its color, but for now just draw its
general shape and main folds, while trying to capture
movement and rhythm. Then, define his helmet’s shape
and silhouette, but barely draw anything inside, and
leaving those details to be done in color.

Draw the background directly in the color

stage, but it’s always good to draw a sketch
to serve as reference. So, draw the outline of
a stone column and some rocks, as well as
the floor, but don’t worry about defining
them too much.
5. Lighting
The effect of lighting on the figures is pretty subtle. You
can create them with layers of color, so you won't be
defining hard shadow contours but adding various
shades together. On the cape, more shadow contours
and the contrast between light and shade, helps draw
the folds. Highlights play an important role in represent-
ing the texture of metallic surfaces, as well as marking
the volumes of their bodies.

6. Coloring
Begin coloring the illustration by deciding on its
background and predominating colors. Without
fear of “stepping” on other elements, you can now
draw the storm clouds and then add the rocks and
column on top.
 The bodies take a lot more time since they appear to
be realistic. Go about it little by little, from base to
detail, from light to dark tones, to keep control over
the figure as a whole. Begin by applying the base
and marking the tones. Continue by superimposing
different color patches, following the volume and
anatomy references. Then, blend in the patches of
color and add highlights to smooth out the tones so
that the transition from one color to another is hazy,
without losing the effect of light and shade.

Follow the same process with the objects as with

their flesh, but consider that their surfaces are
smoother and more uniform. The blade’s volume
is flat and this determines the shape of the first
patches of light or shade. Continue fading and
blending these patches of color, then add effects
that make it look metallic.
 The outline serves as reference to draw the
firm lines marking the cape’s volume and
folds. Once you've completely defined its
surface with color, add light effects and
eliminate the contour lines completely.

A systematic approach is needed to color

the figures and elements, such as the shield
and sword. Color them all with basic tones,
then move to the next stage and keep
checking on the global image until you
come to the finer details. Then focus on
adding finishes and specific details on the
various elements, such as the girl’s reflec-
tion on the sword, or the blood stains on
his sword.

330
7. Finish
The end result is a very allegorical image of epic pro-
portions: the hero is staring out into the infinite after
a battle, and the clouds are parting to let in light.
The girl’s role is passive—submissive, but that’s how
these stories go.
 H Dictionary
This is a basic, not at all exhaustive, selection of some of the best Cutey Honey (ecchi manga): One of the biggest works by Go
authors and works among all the H genres. Not all of them are es- Nagai, the creator of Mazinger Z. A perfect android girl
sential, but they are highly recommendable to appreciate the di- fights against evil forces with tons of sensuality and
versity of the genre. humor. It has had countless anime versions, the last of
which by GAINAX (Evangelion).

Alice in Sexland (H manga): The Adventures of Alice in Wonder- Dr. Pochi (manga author): Has given birth to countless erotic OVAs
land adapted to the H style, with Alice having sex with all (such as Dragon Rider), and as a manga writer he has pro-
its inhabitants. It has absurd situations, not much dialo- duced such degenerate work as Erotic Torture Chamber.
gue and high erotic voltage. Sense of humor is a constant in his work.

Biko (H game): A really dangerous series of video games. As if it Golden Boy (ecchi anime): Series of 6 OVAs produced by Shueisha
were a Square title, Biko takes Hentai to the new frontier: that tells about the adventures of Kintaro Oe, a boy who
3D computer graphics. travels Japan meeting the most beautiful women and ex-
periencing the most absurd situations. A complete pro-
Blue Eyes (H manga): Filled with gigantic breasts, voluptuous duction that’s great fun.
women, and a lot of flesh. Perhaps Toru Nishimaki’s style
isn’t the most beautiful, but seeing these enormous fema- Gravitation (yaoi manga): A perfect example of glam in the yaoi
les in action certainly compensates for his lack of finesse. genre. Maki Murakami’s Gravitation revolves around the
music industry, stardom, fame and tender love scenes. A
Bondage Fairies (H manga): Teruo Kakuta’s most important work success in and out of Japan.
published under the pseudonym Kondom (meaning “in-
sect” in Japanese). Tiny 15-centimeter fairies addicted to HANA (ecchi artbook): A source of inspiration for just about an-
sadomasochism have their own special relations with the yone, Aya Kadoi compiles all his covers for P-Mate in this
forest flora and fauna. An absolute must. The original title book. Sweet, suggestive, colorful, beautiful, natural girls.
was Insect Hunter. A breath of fresh air amongst so much perfection and un-
controlled sexuality with a shojo touch.
Chosen Ame (H doujinshi): Created by the Ganso Sonoda Ya group
headed by Kenichi Sonoda (Bubblegum Crisis, Gunsmith Ikkitousen (ecchi manga): Work by Yuji Shiozaki aimed at attrac-
Cats), Chosen Ame is a series of thematic doujinshi where ting morbid curiosity and full of ultra-voluptuous girls
each issue erotically exploits a recurrent theme in manga fighting amongst each other with all sorts of images of
culture. Its continuation, Megaton Punch, is allowed to panties and fondling. Direct contact and more suggestion
dedicate an issue to the creations of Sonoda himself. than anything else. The animation series is a feast of cur-
vaceous up-close shots.
COMIC Megastore H (H manga): An example of the hundreds of
magazines circulating in Japan. As almost all manga ma- Jlist.com (web page): The main website for importing Japanese
gazines, whether or not they’re hentai, it has an incredible adult products, and the Amazon.com for those collecting
number of pages (almost 400) for a very reasonable price. anything H. Great selection of products with very good
The problem? The quality of the paper in these magazines descriptions.
is similar to the western publication that’s most similar in
size: the telephone book. Lemon (fan fiction): The term “lemon” at the beginning or end of
a work indicates that it is an erotic story inspired by some
Creamy Lemon (H anime): Probably the very first H animation famous manga or anime character or series. Normally le-
series (circa 1984). Surrealist stories, above average scripts mons are written texts. The name comes from Creamy
and retro designs for a series that established the founda- Lemon, a legendary H anime series.
tion for the genre.

332
Maeda, Toshio (manga author): Without a doubt the most popu- Satoshi, Urushihara (manga author): Exceptional illustrator, film
lar in the West. He's the author of Urotsukidoji (the best H designer, and manga and doujinshi writer. Master of fe-
manga about demons with tentacles) and Blue Girl, a very male anatomy a la U-Jin. His book Venus stands out.
funny parody of the tentacle genre that stars a ninja. Together with Kinji Yoshimoto and Yoshihiro Kimura, he
Excellent illustrator with American influences. forms part of the Earthwork group of H manga authors.

Mogudan, Nakayoshi (manga author): Evangelion, Evangelion U-Jin (manga author): An essential reference. U-Jin is the best
and Evangelion. Nakayoshi is a specialist at taking the drawer of women in Japan. He’s been referred to as “the
adventures of Rei Ayanami and Asuka Langlye out of con- author capable of portraying the most beautiful girls com-
text, but in his H doujinshi these have better...curves. mitting the most carnal acts”. Series like New Angel and
U-Jin Brand are fundamental, but his illustration books
Mon Mon (manga author): Extraordinary illustrator capable of and shitajiki are more recommendable, especially the U-
representing all types of women, from the most voluptuous Jeune series (ecchi).
to the charismatic athletic girls. He's designed characters
for bunches of H anime series, and his Candy is a brilliant Umetsu, Yasuomi (animator): He has worked with Miyazaki, Oto-
example of how to do a color H manga. mo and Takahashi, and his name appears on almost every
big Japanese animation film. The H world still owes him for
Naomoto, Sakaki (CG artist): A digital creator whose compilations his collaboration on Cool Devices.
are extremely popular and easy to find outside of Japan.
His Borderline series is the best place to start, it is full of Urotsukidoji (H manga): His animated version was, with few
naked students doing all sorts of carnal acts, an example exceptions, the first extreme H to be dubbed and distri-
that otakus survive on more than just printed H manga. buted internationally. His indescribable scenes where pha-
llic tentacles devastate the city that are closer to Son Goku’s
Oku, Hiroya (manga author): Author of the HEN series, which kamehameha than anything else. Godzilla + hentai + ten-
narrates the story of a man transformed into a woman. Oku tacles.
is better known outside of the ecchi genre for being
the author of the popular Gantz series. HEN’s main charac- Utatane, Hiroyuki (manga author): Tireless author and illustrator
teristic is that it gave birth to a style of drawing woman's of very beautiful books that lately are closer to ecchi than
breasts with a movement similar to tracing paper anima- H; Utatane has a gorgeous and highly detailed style that
tions. Created a school of followers. would please anybody. His manga, Seraphic Feather, seems
to confirm the idea that he’s moving away from hentai.
Rikudo, Koshi (manga author): The creator of the famous Excel
Saga manga has a dual identity as creator of H doujinshi,
such as the Municipal Force Daitenzin series. Javi Sanchez

Saigado (H doujinshi): Group of doujinshi authors famous for their

realistic style and parodies of fighting games (Street
Fighter, King of Fighters) or famous series (Evangelion).
They've been around for almost a decade.

Sailor Moon (shojo manga): As you'd expect, the girls from the
White and Innocent series by Naoko Takeuchi are the most
parodied in H doujinshi. If a doujinshi author wants to be
considered, he must put at least one Sailor Mercury cha-
racter naked somewhere. Chibiusa is capable of being a
lolico sub-genre all by herself.

333
 Artwork and Text
Ikari Studio (Santi Casas, Joaquin Celis, Daniel Vendrell)
www. ikaristudio.com
[email protected]

Ikari Studio would like to show its appreciation for the confidence bestowed on us while undertaking this project. This book wouldn't have been possible
without the invaluable help of David, Judith and “Jodri”. We would especially like to thank Alex and Beto’s unconditional support. As well as thank Joso for
giving us a place to meet and grow. And to all you who at some point or another complicated things, thanks for making us stronger.
 THE MOST COMPLETE HOW-TO-DRAW BOOK AVAILABLE ON
EROTIC MANGA, FROM A WORLD-RENOWNED ILLUSTRATION STUDIO

With its adult-oriented themes, Erotic Manga

is perfect for grown-up fans of Japanese comics, as well as

afficionados of adult art.

This book is a comprehensive guide that will teach artists of

all levels, from beginner to advanced, the basics of creating
characters from shonen and soft-core, hentai comics. This book
includes an easy step-by-step tutorial for progressing from
initial black-and-white sketch to final color piece, accompanied |
by practical suggestions, hints, and tips. |

EC This book contains sexual and violent

content of an adult nature.
isit ra | exclusive |
nformatic Ol

COLLINS|DESIGN
An Imprint of HarperCollinsPublishers
www. harpercollins.com