Gangan Joker’s May 2012 issue boasts a gorgeous illustration of Tasogare Otome’s ghostly bishoujo – before getting into the subject matter at all, one will be instantly won over through the art’s unhindered length.
Bathing bishoujos are nothing out of the ordinary in this modern day, yet rarely does one receive the sight of an artwork this ero-elegant. It’s concurrently steamy and eloquent – the former is more apparent as to why, although the graceful points of this work come through technical application. A rarity indeed is it for an anime artwork to stretch landscape in width – normally, the sight of a second dimensional female as she bathes gets butchered down to a less satiating, or more physique emphasizing, image size frame.
That is however assuming the girl isn’t just angled in a manner to fit on the page.
Both of those are fine in their own right, yet they’ve been utilized to such a great extent – they’re no longer particularly creative or effective. On the other hand, the subject matter placement and positioning of this piece excels in that it is both unique and full of impact. Yukko’s body is not shown in entirety – partially cutting off elements of an artwork is a known technique which in fact makes the element in question far more alluring to the eye.
For another detail of individuality in this piece, notice the angle at which Yukko is positioned – it’s not a flat left to right, but something which works in conjunction with the value to formulate a depth effect. Yuuko’s buxom body feels as if spilling our direction almost.
Her foremost thigh sits perfectly in the center of the canvas, however it tilts off to the left of the composition – making for a more powerful visual effect through the ever-popular rule of thirds. This thigh of hers is in essence, the main focal point – the forward most striking feature of the artwork. One can actually see that the lower body dominated half of the image can formulate a complete composition in itself – of course however, the other portion also offers much to indulge in.
Informal balance exists as per the asymmetrical sight of her upper body – a result of the aforementioned exquisite choice of placement and positioning. Her hands, breasts, and visage all have depth much like her thigh, proportioned to sizes true and exact – yet they’ve been drawn to a perspective which ensures they do not overpower the focal point, her thigh. Her expression was kept from looking bland through a simple wink of the eye – and similarly, her hands are not idling either.
There’s many a method to go about portraying a female’s chest in artwork, anime or not – and most commonly, the tact chosen is to suggestively bulge them out of the artwork, yet thankfully that’s not the case with this creation. Seen here is the most perfected style of oppai implementation – they weren’t touched at all.
Breasts don’t have muscles within them, nor do they move on their own as is oft-seen in many a low caliber illustrative piece – the artist of this spectacular artwork kept her chest as is, leaving them settled in a natural manner, and covered the more explicit areas in a fashion both relevant and artistic. The squirting water is the most lively aspect of the illustration – substantially improving the degree at which this artwork grasps the eye through its usage of negative space, and lovely modus operandi of balancing the artwork as a whole.
Had the water been absent, and say her arm was merely covering her oppai, the foot to the far left would be too prominent – and the piece would just feel lacking overall as contrast would be nonexistent. Yet we can rest assured as that’s not the case – and many should be able to admit, this has to be one of the best artworks in general ever seen.