- Page 1 and 2: L-+-+:1. RrOBg fimuml$uffliluiluu[i
- Page 3 and 4: ffiTODRAS/ Vo!.3 Enhancing a Charae
- Page 5 and 6: Vol. 3 Enhancing a character's sens
- Page 7 and 8: Ghapter 3 Movement with a Sense of
- Page 9 and 10: The lmportance of Tone Work [:i:.i.
- Page 11 and 12: Color Colors are portrayed by contr
- Page 13: i-- t+h l ,{ lllllltrruum $fmrlr: i
- Page 17 and 18: :: pecial Lighting Etfects The spot
- Page 19 and 20: Soft Lighting Use tone with fine do
- Page 21 and 22: ,rir,,rummmre Shading iilrfiM rilll
- Page 23 and 24: " l: " :: Cfeated . "::1090% r -- :
- Page 25 and 26: ' ,huut llhn :rr: :r top of the pan
- Page 27 and 28: m, msmrmurng the Tone d-- r- a #F *
- Page 29 and 30: The stylus is used to press down se
- Page 31 and 32: Character Shading and Tone Portrava
- Page 33 and 34: Front Left Light Source mr 'rllllfi
- Page 35 and 36: ,rlillllfl' d{slulll] [ rlillil r\.
- Page 37 and 38: lirrMruurmliffies in Suggesting Col
- Page 39 and 40: 37 ffi , Fl i.ilil:i rii::irii rj -
- Page 41 and 42: .ffililil lllllll, m. ffi,,i',,, I
- Page 43 and 44: - ffiniimg the Hair Tone used for s
- Page 45 and 46: ffiu -ffi \rt rt \ e-types have the
- Page 47 and 48: ffip Expanding the negative space i
- Page 49 and 50: 47 .* ,rdi[, 'rr t tru, I m-,n+ tll
- Page 51 and 52: ,il11 ffimUons to Pamts {|.-l!od.er
- Page 53 and 54: *, t D Adding to the girths of the
- Page 55 and 56: When applying shadows to male chara
- Page 57 and 58: ,r.rrrillrrflil ililnunilfTE SIdleS
- Page 59 and 60: lrmrllflllllrilullri: m jte Back of
- Page 61 and 62: ,; muent Shadows z--., Bottom Shado
- Page 63 and 64: ifilili]tirir( :lrffioows Use these
- Page 65 and 66:
drxiiullrrst Fuddle Shadows #MTone
- Page 67 and 68:
Movement with a Sense of Presence
- Page 69 and 70:
tLrilllllllniltillll,rtifl Je arms
- Page 71 and 72:
,ltlmrrlffemmq Mlstakes tliltltt!;
- Page 73 and 74:
*ft ni{m tfl0l ''' flnttm@i& Top of
- Page 75 and 76:
iiirutttnm fuld lrfil|lil rffiiflke
- Page 77 and 78:
The side centerline along with the
- Page 79 and 80:
and Movement the Clavicles ifitllmm
- Page 81 and 82:
llllt|lll|]111u ll'E,nacters The de
- Page 83 and 84:
'lrlrlllililllLLrrt l- ;11 othing c
- Page 85 and 86:
ilfitffiflmilltq flhe Head up Bad e
- Page 87 and 88:
Etrbow and Wrist Since the wrist is
- Page 89 and 90:
,iiiitilril l,:ln.h in Drawing the
- Page 91 and 92:
fr Awkward + Natural of the intent
- Page 93 and 94:
The Feet _/ F--- \ I xtaas) ) This
- Page 95 and 96:
then fie back is rounded, tle $ould
- Page 97 and 98:
,iiillfMnnl qeEularly, But Slightly
- Page 99 and 100:
: ,:stures for Sitting on the Floor
- Page 101 and 102:
Balling up to the extent that the c
- Page 103 and 104:
Te $tandard Convex Curve ofthe Uppe
- Page 105 and 106:
Practical Application Samples Tilti
- Page 107 and 108:
105 -:s.es of Arcing the Back 3: i;
- Page 109 and 110:
iiurding S-Curve Poses :"- 'r\ 1\ i
- Page 111 and 112:
krrast of Figures in S-Curve Poses
- Page 113 and 114:
l,e. ;r 3 simple back view, a bit :
- Page 115 and 116:
-r inish, rub with an eraser those
- Page 117 and 118:
More Manga
- Page 119 and 120:
hxlg fi SmnT blflralfy n11nmrnr IIl
- Page 121 and 122:
Waiting on a Friend: Character lntr
- Page 123 and 124:
,ftriril Jtsqr n=qrrtening the mtmf
- Page 125 and 126:
muilMillMm lk a Sample Scenes: Gett
- Page 127 and 128:
&mr I -fffle Creativity When Attach
- Page 129 and 130:
lu:um's Frofile -lr*a,:.., Hayashi
- Page 131 and 132:
--< )-:Y9 }IAIB Vol.7: Amazing Effe