Hisashi Eguchi"Cute girls have a period of being really invincible."
Interview & Portrait by Al Baio
In what venue, whether it's a book, or on Tumblr, or on TV or on YouTube, do you prefer your work to be viewed, and does it matter?
I am grateful that people from all over the world are able to see my work through the internet. You can just look at it. I am very happy that the wall is disappearing.
You share what you are working on on Instagram.
When I work, it is very lonely, I do it all by myself for many days, you know. So I want to show my work. To people. I want to know their reactions. When I do it, everyone gets delighted, and that gets me motivated.
That's why I do it too!
I want them to say something when I show it to them. When they praise unexpected things, I realize to myself, “oh yeah, they’re right”.
Would you rather draw a baseball player everyday or a boxer everyday?
Boxer, because if I draw baseball players, I have to draw many.
What's the best hairstyle to draw?
Short. But recently, I like drawing hair, as bundle of hair, how do you say it…? Like this [starts drawing]. I like to draw a wave motion of hair. I like to draw a wave of hair--like this, I like the wave. I don't like to fill it in with black so much, although they are Japanese.
Is there a pose you hate drawing?
I don't like too posy poses very much. I like normal, natural poses. I don't like poses that models would do. I like the scene of eating a meal for example, I like those poses.
What does a black outline mean to you?
Well, oil paintings don't have outlines, right? They draw with lights. To draw images with lines is probably something that the Japanese started and remains in manga.
What's your absolute favorite body part to draw?
For women, it is the waist... and you know that part that comes out a bit when they wear underwear? There is the bra, and some fat around the bra….this is important! The part that becomes plumpy. Women always have some fat, you know. So I always keep fat in my mind when I draw, for women.
1 2From Sex Magazine #3 Spring 2013