How to draw anime and game characters pdf

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Tutorial Manga Visitanos en This books (How To Draw Anime Game Characters Volume 2: v. 2 (How to Draw Manga) [PDF]) Made by Tadashi Ozawa About Books How to. How to Draw Anime amp Game Characters Vol BibliotecaVirtual DiseñoGráfico. B. DiseñoGráfico. O 9 GRAPHIC-SHA G _.

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HOW TO DRAW ANIME AND GAME - Free ebook download as PDF File .pdf) or read book online for free. How to Draw Manga - Anime and Game Characters Volume 1 - Free ebook download as PDF File .pdf), Text File .txt) or read book online for free. How to Draw Anime and Game DownloadReport. Published on Nov View Download

Express his sense of responsibility and stoic nature in his broad chin and strong neck. Right-handers generally tend to have difficulty in drawing this position properly. Shoujo Manga Gal's Comics character Overall very thin with long legs. The mouth is slightly larger than the Heroine's. People tend to draw the ears and the nose too close together. You very rarely view her from below. Just a cluster of points?

Your job is not simply to decide the pose. It is also to direct and thereby incorporate more information about the character into the drawing. This is subliminal information. For those of you with doubts on your ability to draw, take a look at the sketches below.

When It comes to using only lines and circles, it is not really a matter of making judgements about skill levels. Don't iust look at these poses. Generally, people think that getting the balance right in a sketch is hard.

But it isn't really. Think 01 the simplest polygon. When you are drawing an illustration, you don't have to draw a square. However, you must decide which direction each part 01 the body is lacing.

And once you have got this you will be line. Which of the six types shown below appeals to you the most? You may have tried to imitate the style of your favorite manga artist or animator, but it just doesn't look the same. So far, the characters you have sketched differ in body proportions and design to the characters you like. We don't have to analyze the body proportion of characters in great detail. Comical Animation Character Large head, hands and feet. Not much definition of joints and muscles.

Limbs look small compared with the head. Bishoujo Young, pretty girl A thin waist and slight definition of body contours. Joints and muscles are defined. Shoujo Manga Gal's Comics character Overall very thin with long legs. For girls, body contours are defined but the head is small. Boys are drawn almost the same but with broader shoulders. Real Type The length of the body torso and legs are roughly the same. Girls do not have exaggerated narrow waists. Character drawing differs with the subject.

It is not simply about body proportion. Depending on whether it is manga or an illustration, for example, the same character will have very different features. Compare the different drawings of the same character below, especially looking at the ways the eyes and hands have been drawn. Do you notice how some features have been drawn in detail while others have been omitted.

Think polygons. Have you ever looked at a drawing you've done through the back of the paper? You can easily see distortions in a sketch if you do. Especially those faces looking straight out. These distortions come about when you are preoccupied with flat outlines and not not thinking in 3-D..

How to draw Anime & game characters, vol. 2 : Expressing emotions

What can be done about it? The answer is think polygons. The drawing below, a common one in video games, is like a piece of sculpture, isn't it? You don't have to be able to draw it. What's more important is that you acquire a feel for it. It is very abstract. But the feeling is important If you have this, your drawings will have the power to move people. Think back to the square boxes in Chapter 1. They are the simplest polygons.

Next, we will take a look at how characters' bodies can be made up 01 polygons. This is the first stage. Take care when drawing the mouth. The lips jut out but are not curved. So it looks as if they are just stuck on. The drawing went wrong at the initial stage. Look at the eyes. First, look at the size of them. The left and right eyes are slightly different. Then, look at where they are. The position of the eyes is off and this is the most common reason for a picture looking odd.

The height of the eyes is unnatural because they are not aligned parallel with the inclination of the face the outline of the head.

It would be the same curved. Look at the completed drawing below. The midline is off center. The eyes are not the same height. The cross-lines on the face are at completely different angles. The cross-lines on the face should cross the midline at right angles. As explained on the previous page, when drawing the face, the most important line that you draw is the cross-line. It is the first one you draw and decides position and direction. Drawing the features, the eyes and the hairstyle may be more fun but it is the cross-lines that decide the character design.

So, pick up a pencil and have a go at drawing the real thing. Next, the midline is drawn vertically on the full face. This line marks the bridge of the nose. Then, the horizontal lines that decide the positions of the mouth and eyebrows are drawn. The distance between these two lines decides the size of the eyes. The knack when drawing the character below is to draw these lines wide apart so that the eyes are big. The position for the nostrils is marked on the line for the bridge of the nose.

The eyes are drawn on this line and their size roughly estimated. The general rule is that the lower the position of the eyes, the more childish the face See the drawing below. Above the line that decides the height of the eyes draw another line to decide the size of the ears. The height of the ears is about where the frame of a pair of glasses would sit. Normally the position for the corner of the eyes is about where the root of the ear is.

But the more you get used to it, the more you can play around with the positioning to make more exaggerated characters. The outline between the eyebrow line and the eye line hollows out. This makes the depressions for the eyes.

Mistakes are often made at this point. Even those people who are fairly good at drawing end up drawing the base of the nose from the eye line. Have a look at the bridge of your nose in the mirror. See how it starts between the eyebrows, depresses in between the eyes, and then sticks out. The width of the lips is marked on the horizontal line for the mouth.

Take extra care with the eyebrows because it is easy to draw them uneven. The same with the lips. If they were uneven, even a smile would look contorted. The chin is tapered. The Real Type Character has a broad chin and the Exaggerated Type, a chin concentrated at the center of the face. Be aware of the jawbone in the Real Type Character. In a real story, you have to be able to draw not just faces in profile but faces in all sorts of positions such as looking up and down.

The following views are drawn with the cross-line. Below we have the basic set of head positions for the characters featured in this book. Once you can draw these, you can probably create your own work. Basic 1 Frontal: Level of difficulty 1 Asymmetry is most obvious in this position. The width to the left and right of the vertical midline must be the same. Basic 2 Profile: Level of difficulty 1 The knack is to distance the base of the nose and eyeballs further apart than you would first think.

Take into consideration the height of the nose between the eyes. The bottom lip protrudes less than the top. Oblique from behind: Level of difficulty 3 Don't forget the thickness of the ears.

Make sure the horizontal eye-line remains level. Oblique left: Level of difficulty 2 Even though this is one that people can draw, it is also easy to get the perspective out. Pay attention to the size of the eyes. From below: Level of difficulty 5 Pay attention to the line from the tip of the chin to the eyes.

How To Draw Manga Anime And Game Characters

The position of the nostrils is higher than you would first think. From above: Level of difficulty 5 The positions for the top of the nose and the mouth are almost exactly the same. The angle of the eyebrows changes the down-looking position of the head. Refer to this position for each character in the pages to follow. Level of difficulty 3 Take care with the size of the head. People tend to draw the ears and the nose too close together.

Level of difficulty 5 Once you can draw this, you can improve the variation in your drawings dramatically.

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This angle must be practiced because it is commonly used. Make the curves of the eyes and the head parallel so that the eyes don't droop. Take care where you draw the hairline because it differs depending on the character.

Level of difficulty 4 The inclination of the eyes is difficult to get right. Make the chin and forehead parallel. Do the same with the eyebrows and eyes. Oblique right: Level of difficulty 4 This angle often appears in interview tests at animation studio companies. How the parts on the other side of the nose-line the cheeks, eyes, eyelids and eyebrows are drawn is very important. It is a good indication of your drawing ability. Pay attention to the distance between the eyes and ears.

From slightly above: Level of difficulty 2 This is at an angle so it is not exactly a full view from above. Nevertheless the nose and mouth are drawn close to each other.


Right-handers generally tend to have difficulty in drawing this position properly. Which type of characters do you want to draw? The next pages introduce the basic poses for the diHerent characters.

This character is a mix between Takarazuka an all-women theatrical company in Japan and Gakuen School Life genres.

Her traits are the exaggerated hairstyle and eyes. Once you have mastered these two characteristics, you should have no problem drawing this type of character. Take care with her glossy hair, highlighted lips and liquid eyes.

More than half of the eyebrow is drawn as one line. The distance between the eyes and eyebrows widens out. The eyelashes are long and curly. The eyes are big, partially hidden by the upper and lower eyelids. Don't draw the middle of the eyes. Make them slightly droopy. The bottom halves of the eyes are heavily highlighted to give her liquid eyes. Loose strands of hair are also drawn. The bottom lip turns downwards slightly. The lips look glossy using shade and highlight. His personality differs depending on the story.

He is flashy and tries to be cool but most of the time he has a comic role. His droopy eyes are evidence of this. He is often up to something devious but his plans usually backfire. He's a character that you cannot help but like though He always falls for the leading heroine. The lines for the eyes and eyelids are Wide apart. There are definite double eyelids. The lines for the eyelids and eyebrows meet at the brow.

The eyes are droopy and wide. Concealing much of the lower part makes him look as if he is smiling. Much highlighting. Thin, oval-shaped features. She is naturally friendly and in most scenes she is smiling Draw her with droopy eyes to express her cheerful, gentle personality.

Her hairstyle is exaggerated because she is a Fantasy Genre Character. Don't waste time trying to figure out why she has this hairstyle. Just accept it as on of her trait. Something symbolic like a bindi is on her forehead for emphasis. The eyes are droopy and positioned Iowan her face. The eyes are very wide apart giving her a fish-like face.

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There are sparkling highlights in her eyes. Curly eyelashes are drawn on half the eyelid, lengthening towards the corners of the eyes. A cool Bishounen Young, attractive boy. He has hidden subtlety and coldness.

Express his androgynous beauty with a flouncy fringe and glossy hair. Like the girl, he has a symbol decorating his forehead. With his eyes positioned low, he has the look of a young boy about him.

But he is maturer than his appearance suggests. The highlights in the hair indicate that the hair has been slicked down. The hair continues down to the nape of his neck. This character usually has dull blond hair. Fierce almond eyes. The lines for the whites of the eyes stretch as wide as possible. No eyelashes. A lively, energetic girl. She often plays the role of childhood playmate to the hero. She is courageous and never gives up. This character has exaggerated eyes. Take care to get the size and height of eyes right especially face on.

This part is a different color. The eyes are drawn very large and one eye takes up about a quarter of the face. The corner of the eyes point upwards and out. The irises are heavily highlighted.

Lines are drawn to accentuate her face. The corners of the mouth are slightly upturned. The shading below the bottom lip gives the lips fullness.

Out of all the boys featured in this book, this character has the roundest face. Like the girl, he is lively and cheerful. His energy is expressed in his large upturned mouth and sparkling eyes. He is quite mischievous. The eyebrows start with several vertical lines. They turn upwards and their distance from the eyes widens at the ends.


A " lot of the whites and the irises are visible. Make sure to draw the whole eye. Androgynous, boyish and energetic A diplomatically cheerful group leader. Draw her with nicely varied clear lines. She often wears simple accessories that are connected to the story line in some way rather than as decoration.

The lines for the upper eyelids, eyebrows and chin are drawn in thick strong curves to express her liveliness. Her girlish femininity is expressed in a natural way in the thinness of her chin and neck, the absence of the jawbone and the lines drawn beneath the eves The hair sticking up shows her energy.

The iris is vertically long. Her pupils are made up of several lines. A definite double eyelid. The nostrils drawn horizontally makes the nose look forward facing, whereas vertical nostrils make it look as if it is sticking up, Refer to p. Rather boyish features. There is shading under the bottom lip. The lips are slightly thick. The mouth turns up at the edges conveying liveliness. Bold contours from the tip of the nose to the tip of the chin. There is a break in the line at the end of the nose.

I Soft wavy hair. It is a natural-looking hairstyle. Feathery hair conveys liveliness. No highlights The neck is clearly shaded. The opposite of the "Fleeting Bishounen. Draw sparkling eyes and a tightly closed mouth to accentuate his boyish youthfulness. The large, round jet-black irises emphasize his positivity and trust in people. Take care to distinguish him from the character on page 54 who is also an Exaggerated type of the Anime genre.

This is the simplest character in the book but getting his expression right may be quite difficult. His boyish youthfulness is expressed in his short, messy, unconventional hairstyle. The thick straight lines of his eyebrows denote gallantry. Don't color the eyebrows black because this would make him look like an old man. Clearly defined eyes.

He seems to be looking straight at you because the middle black part is completely visible. Double eyelids. The lines for the whites of the eyes do not cover the lower parts of the eyes.

The clear lines make the eyes wide open. No highlights in the hair. If anything it is shaggy. The mouth is drawn realistically with 3 horizontal lines. The shading below the bottom lip shows fullness. The broadness of the chin denotes strength of will. She is quiet, and doesn't say much so you don't know what she is thinking. She is slight of build and everything apart from her eyes is drawn small and thin. She is well mannered and not rebellious. She is expressionless and uncommunicative.

Express her closed heart by drawing down-turned eyebrows and thin irises, and using a vague color for her eyes. Her ears and eyes are not completely visible. To give the impression of fine hair, divide it into fine tufts. This is arranged neatly to express her good manners. The irises are narrow. The top and bottom parts of her irises are not visible. Draw a thin double eyelid line. A small downturned mouth with a very short line for the bottom lip. The mouth is extremely narrow.

A girlish, delicate, quiet boy. Like the girl, he is introverted, uncommunicative and self-effacing. Draw him with a lonely expression on his face as if he is always worried about something. His delicate nature is evident in the sharply pointed features such as the cheeks, chin, eyes and nose. Draw his neck thin like the girl's. Out of all the characters featured in this book, it is probably most difficult to distinguish between boy and girl in Simple Type B.

A conservative hairstyle. Loneliness is expressed in the distance between the eyes. The eyelid lines show the delicate skin of his eyelids. The outline of the eyes is angular. The irises are thin. Drawing only the beginning and end of the nose indicates that the nose elevates sharply in between. The cheeks are drawn with a thick line to make them look square.

Drawing a wrinkle-like line on the brow makes him look worried. A rather downturned, closed sadlooking mouth. Shading lengthways makes the mouth protrude slightly as if he is about to say something. Most important is the purity of her image because she is not of this world. Whatever is said, she is an unemotional and strong-willed girL It seems as if she is always staring far into the distance.

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She is gentle and speaks little. Draw her carefree as if she is floating above this world untouched by mundane things. You must draw everything in fine detail. You very rarely view her from below. But practice drawing her because she features in momentous scenes of grace and resolve.

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When she faces downward, her eyes close slightly. The eyes are not droopy. Draw them simply without irises taking care to make them symmetrical. Think of - them as glass balls, Eyes with some of the top concealed like this give the character a faraway look.

They curl outwards at the corners. They are long and voluminous. The prominent nose and fine features suggest coolness and hidden gentleness. He does not reveal his feelings and actually he is shy. He is strong-willed and passionate. Often this character is haunted by the past. Express his sense of responsibility and stoic nature in his broad chin and strong neck.

He doesn't care for adornment so don't draw accessories sucn as earrings, Don't put highlights in his hair. Dishevelled long hair that he has run his fingers through. It looks as if his hair is drawn anyway how but there are about three strands of hair that are made to fall across his face and the rest is arranged around those. Voluminous hair, There are lines on his face showing muscular definition.

Shading on the brow emphasizes the sharply chiselled features. The eyebrows turn up and narrow out towards the ends. They extend as far as the outline of the face. The eyes are Quite realistic in shape and size. He looks mature becausethe eyes are positioned high on his face and occupy a small proportion of his face. Covering the upper halves of his eyes gives him a watchful stare.

The nose is straight and bold. Shading emphasizes its height. A clearly defined long face. The lips are quite full and wide. The top and bottom lips are clearly drawn. The pronounced brow between the forehead and the nose makes him look distinguished. The nose is not exaggerated so don't make it pointed. Tight lips give him a downturned mouth.

The ends are drawn thickly. A thick, solid neck. Slightly thinner than the outline Indicates. The hair hangs down past the nape of his neck.

A gentle, cheerful girl who doesn't talk much. Her naivete is expressed in the large baby eyes. Draw her with flat features and few contours, a small upturned nose and tiny mouth like a Japanese festival doll.

Everything is rounded. The upper parts of the eyes are slightly covered by the eyelids and this gives the face a positive expression. It is best to imagine her as someone you'd be happy to have around. The fringe falls slightly over the eyebrows.

The eyebrows are not heavily defined. Thin eyebrows. The lines for the eyebrows and eyes are parallel, with the distance between them the same from the inside to the outside corners. The bridge of the nose is not drawn. The circular irises are right in the middle of the eyes.

Not much of the whites of the lower parts of the eyes are shown If they were, the character would look cheeky. Although her eyes are the same size as those 01the AntiHeroine, they look bigger because they are not partly hidden by the eyelids. A rather downturned mouth makes her look a little sulky. Don't draw a line for the bottom lip. A deep fold for the eyelids. This character always has short hair. Fine locks of hair are drawn to make the hair look in good condition.

Although he is cheeky and sarcastic, he is basically a good guy. He is slender and athletic but doesn't fair well at his studies. Contrary to expectations he is easily moved to lears and has a heart of gold. He often has sisters. Generally speaking, draw him with the image of a band member in mind. Almond eyes. He has a cheeky look about him because the whites at the sides and lower part of the eyes are visible. Cheekiness is easily expressed if a large area of the whites of the eyes is visible below the irises.

No highlighting. The eyes are positioned Quite high on the face. Viewed from above the outer corners of the eyes turn up. The ears are no: These lines are drawn to make his nose - - look bOny,-. Large nostrils indicate strong emotions.

She has a melancholic, lonely expression. Let her speak through her eyes. Usually she has no parents and falls for older men. Even forward facing, the eyelids cover her eyes slightly. The partially concealed irises indicate her lack of openness. Eyes upturned at the corners are positioned Quite low on her face. Her irises are longer vertically than the Heroine's. Her insolence is indicated by the large part of the whites of the eyes that are visible. Imagine cat's eyes. I ThIs is basically the same as the Heroine.

The mouth is slightly larger than the Heroine's. It is small, tight and down-turned. The lips are not drawn. After graduating from technical college, Kobayashi started working at a Games company where he is now working on Character Design for an original animation. The most important thing when you are drawing is the feeling. How are you going to express what you are thinking? That is what counts. Your drawings openly express your likes and dislikes, your personality and emotions. You are not really aware of yourself when you go about your daily life but drawing makes you take a look at yourself.

I entered this profession because ever since I was a small boy, I had aspired to become an artist. It all began twenty years ago one day when on television, I saw an old man painting on a street corner in Europe. That's when it all started and why I am drawing now. There are no shortcuts to improving your drawing skills.

The more you persevere, the better your drawings will be. Have a go at drawing everything around you, no matter what. Copy the drawings done by skilful artists.

It's OK to do it just for the fun of it. Do it over and over again until the research you've done pays off and you have the material to draw what you like. Observe everything in your everyday life. Watch everything around you: Do the same with things. Observe the position of the light source and the shadows, colors, shapes, size, textures. Before you know it you will find yourself watching everything without even thinking.

Watch, think and draw. The more, the better. Both quality and quantity are important but the most important of all is the feeling. If all that you draw is void of feeling, it is easy to get into the doldrums. If you do end up feeling like this, you must start from nothing again and reconsider everything, all the work you have done over the years, the pictures you like, your sketches, rough drafts and rough illustrations.

Lastly, I want to say that I lack both the technique and knowledge to draw a tenth of what I imagine. But an amateur can become a professional. And I am thinking more like a professional now than ever before. Think in polygons when drawing the whole body, just as you did when you drew the heads. In the picture below the body is drawn as boxes. Though I say it again, it is the quickest way to improving your ability to draw in three dimensions.

Once you master the basics properly you can go on to exaggerate the charactef design and produce good drawings,. The body is divided into moving parts mainly at the joints.

Roughly speaking, the body is separated into the head, neck, chest, waist, buttocks, thighs, calves and feet. Make sure you divide the chest into two. If the chest is struck, the solar plexus caves in. So think of it as a large joint. Always remember which direction the front part and sides of the body are facing.

Adding on the arms, Naturally, they come out at the sides. The knee is joined at the front. Professionals draw the knee joints as circles in their rough sketches.

Take care to get the thickness of the instep and toes right. Draw the height of the instep and add the moving part for the toes. It is helpful to think of the ankle and shoulder joints as balls as if the human body was a robot. The soles of the feet are not flat but at an angle. The shoulders don't just come out at the sides.

They are connected to the neck at an angle at the front of the body as well. Note that the calves bulge. Think of the arms as moving on balls. Basically, shading depends on the direction of light. Refer to the shading on the flanks of 1. Remember that even the fingers should be shaded. Just by looking at the shading in 4 , you can see how getting a feel for shading using 1 improves the drawing. It is helpful to draw cylinders for the curved parts of the body such as the arms, hips and ankles.

In the last section, we covered basic shapes. The next step is to think of smooth curved surfaces. Take care when drawing cylinders because the curves change depending on the direction of the body You don't have to start with curves when you are drawing something. But it enables you quickly figure out the physique of the character and draw it realistically from any angle.

Look at the following explanatory drawings showing you how to draw the body from above and below. The larger the surface area of the circles the cross-sections in black , the greater the angle of the views from above and below.

Both the belt and the shoulder blades are parallel to the black cross-section. Always draw with an awareness of the cross-sections. If you don't, you end up with a superficial picture.

Practice drawing these cylinders even if you can't see the point of it yet. The curved edges and the pattern are always parallel.

Once you can draw a good circle without using a compass, you are ready to draw more exaggerated shapes. To practice threedimensional drawing, the angle combines perspective and space. Although this is a difficult angle to draw, it is good practice for drawing shapes and considering the thickness of the body. Draw one hand cu rved to study the' basic way of drawing. This is because the wrinkles in clothes are affected by different poses. The frontal view Basic Game and Animation is not just the work of one individual.

It involves the joint efforts of a group of people. Therefore everyone must be able to understand the characters' expressions. This front pose is a standard one that everyone can work from. The view from above Oblique view from behind You must be able to draw things from the down-looking angle. Often you need to set the scene and show your characters in their environment. In directional terms, the view from above is used in scenes where the character is depressed.

Drawing the character from behind increases the sadness of the scene. Gompare such things as the size of the head, the appearance of the neck and the shoulders, and the length of the arms with the frontal view in 1. There is some exaggeration. The legs are much bigger than in the frontal view. The parts of the body nearest you are the biggest.

The view from above frontal As in 2 this pose is often used in explanatory scenes in relation to the character. The view from below This view is used to emphasize the character's size and strength, and to express exultation and aHracliveness. Make sure you draw girls' bodies soft and smooth, not hard looking.

In the pose below, take care to get an extremely natural pose with the knees close together, the feet not wide apart and fists unclenched. Make sure you draw the boys' bodies with muscular definition. In the pose below, the character is drawn with one hand on the hip, one fist clenched, the knees opened outwards and the'feet facing outwards.

She is a descendent of the traditional princess dressed along the lines of Takarazuka costumes. Endow her with plenty of accessories such as braids, boots and gloves. Everything is close fitting. She is extremely exaggerated, drawn with a very, very thin build and extraordinarily long limbs.

She is usually in Gakuen stories, so it is vital that she wears a uniform. Narrow shoulders, about the same width as the bangs in her hair. An extremely slender neck. An open collar emphasizes her femininity. Uncharacteristically large breasts so there are many wrinkles across her chest.

Very narrow waist. Almost no hips. Horizontal wrinkles caused by the pulling of the top buttoned at the front. The gloves, like the boots, are designed to fit tightly. The gloves are slack arou nd the wrists like the boots are around the ankles. It seems odd that she wears boots even in the summer with a uniform, but she does. They are simple and fitting. The boots have a slight heel. Slack around the ankles, expressing the slenderness of the ankles.

A skirt is the standard uniform for this character, a pleated mini skirt. Make sure you draw the pleats properly in the view from below. A soft uniform with a stand-up collar. The design with details such as epaulettes is reminiscent of military uniforms.

Visually, it is more in the style of the Nazi uniform than the Japanese school uniform. Physically, the character has extremely long limbs like the girl, and his shoulders and hands are not masculine. He is a Bishonen, with a slight build and small chest. Hair down to his back. His hair is not the same length all over but shorter at the sides. A smart stand-up collar.

Quite a slender neck. The epaulettes follow the curve of the shoulders. His lithe body is emphasized by having a zip fastener instead of buttons down the front of the jacket. Slender upper arm with no muscular definition,. The Jacketis close fitting around the waist. Horizontal wrinkles show the position of his waist. For a boy, he has a feminine pinched-in waist. J 1 The outline of the pants follows the contours of the calves, The pants are baggy around the ankles, showing the slenderness of the.

The ethnic clothes she wears are South American or African in style rather than Asian. Why not share! An annual anal Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No.


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