- Page 1 and 2: RnOBg rmlil'fluuum[nluuuluuuun + w-
- Page 3 and 4: Penning Characters Vol.2
- Page 5 and 6: Vot. 2 Penning Gharacters i a t ț
- Page 7 and 8: Chapter 3 Drawing Any Expression lm
- Page 9 and 10: Pen Fundamentals l &ffi1 ': ,' ,i t
- Page 11 and 12: l : i :r:,'i this version anticipat
- Page 13: Pgn NibS The 3 Most Common Nibs: Th
- Page 17 and 18: lHiltry fu h d Taoered and Even Lin
- Page 19 and 20: Assorted Uses of Heavy and Fine Lin
- Page 21 and 22: 2, Building up tines right from the
- Page 23 and 24: Making characters Distinctive ^r /
- Page 25 and 26: \__ I -\ i 1 t ; d t\ & x & I \ 3,
- Page 27 and 28: itioning the Figure with a 3/4 View
- Page 29 and 30: =mct Views Etfective in Manga AYa*
- Page 31 and 32: A+B Shoulders raised M ^\*t//^ --i:
- Page 34 and 35: Note the distance between the eye a
- Page 36 and 37: 4. Moderate High Angle Regular side
- Page 38 and 39: ,/ , I i I .t-*#F' I :e,:c-s arar,t
- Page 40 and 41: Connecting the Neck and the Torso N
- Page 42 and 43: Ghanges in Eye Shape for Each of th
- Page 44 and 45: Back of the Head Depictions of char
- Page 46 and 47: The Eyes are the Face's Key Feature
- Page 48 and 49: 'SiEContourLines:ProcesstorRenderin
- Page 50 and 51: [-arge- Round Eyes Standard eyes Do
- Page 52 and 53: ItffiErencs between Adult and Child
- Page 54 and 55: Male vs. Female Faces Male and fema
- Page 56 and 57: Pointers in Drawing Cute Female Cha
- Page 58 and 59: Greating Adult Faces Yourfiful Char
- Page 60 and 61: a? nJ Pay attention to tlt: size of
- Page 62 and 63: The Basics of the Human Figure Maki
- Page 64 and 65:
Pointers in Thickening (Darkening)
- Page 66 and 67:
Lighrsource y#l;Hiff'il::,ffiT1ili;
- Page 68 and 69:
hactirxlApplication: Achieving a Se
- Page 70 and 71:
faffig the Back -E srslMer blade an
- Page 72 and 73:
nguishing Female Body Types Average
- Page 74 and 75:
./ tt, p, / breast size, the \ 1 Al
- Page 76 and 77:
nguishing Male and Female Figures j
- Page 78 and 79:
ffien Drawing Different Male Adjust
- Page 80 and 81:
ff chitd -u:l/.r ,a \ chird \ /\ Nc
- Page 82 and 83:
ltand G€sfures and Poses
- Page 84 and 85:
Draw the foot first and then the sh
- Page 86 and 87:
Waking Up Showing Gharacters Moving
- Page 88 and 89:
hes SEq*ng You are not required to
- Page 90 and 91:
Sample: A Jolting Wake-up \--zz
- Page 92 and 93:
Drawing Any Expression I m a g i n
- Page 94 and 95:
Mouth Movements: Depicting Basic Uo
- Page 96 and 97:
Clme-ups of the Mouth There are occ
- Page 98 and 99:
Theatrical Eyes ng the Wide open ey
- Page 100 and 101:
Uses of Showing the Eyes Maintainin
- Page 102 and 103:
Combining Features to Express Sampl
- Page 104 and 105:
Ofiry:Tears +(E6 As tears are a liq
- Page 106 and 107:
Strrrholic Representation O @ O O o
- Page 108 and 109:
Dashes -1 . Used to express realiza
- Page 110 and 111:
m-rccrnered cross mark iJ/ ;a7 h =-
- Page 112 and 113:
Using the Mouth to Show Emotion Lon
- Page 114 and 115:
Aahll a) Yeeshl? 5) Smiling Faces A
- Page 116 and 117:
Chibi (Super-deformed) Gharacters a
- Page 118 and 119:
Creating Key Images and Gharacter E
- Page 120 and 121:
Vehicles and Figures: Driving Scene
- Page 122 and 123:
Suggesting Movement Using a Single
- Page 124 and 125:
Penning Techniques Th at G reate De
- Page 126 and 127:
tlater Dmpleb The key point here is
- Page 128 and 129:
Artist's Profile Hikaru Hayashi '19
- Page 130 and 131:
us $19.99 Vol.7: AMAZING EFFECTS Ch