1971年当時、村井正誠の次のような構成の授業を受けた。
まず、F6のスケッチブックに、鉛筆で紙いっぱいに格子線を引き、その四角のフレームの中に木のような形を鉛筆で書き込む課題を与えられた。それを鉛筆で塗りつぶしたりしたする画面構成だ。
当時この授業を受けてから、私はだいぶこれにはまった。無限に組み合わせが考えられる気がしたからだ。
村井正誠の「このスケッチブックは大切に取っておきなさい」という言葉の深い意味は当時は知るすべもなかった。しかしずっとこの言葉が耳に残っていたのも確かで、今はこの授業にこそ、村井正誠のデザインの原点があり真骨頂があると声を大にして言える。
画面の上から二段目の左端の画面をよく注目していただきたい。ストライプの下の白く抜けた部分は逆さまにすればまさに村井正誠のトレードマークである人型だ。この調子で隅々に目を凝らしてみれば、いたるところに逆さまの人型を見つけることが出きると思う。村井正誠がこの形を見逃すはずはなかった。
抽象絵画の場合、制作過程でタブローを横にひっくり返したり逆さまにしたりして出来具合を見ることや、余白の部分の形に注目したり、作品のの部分を拡大して別の作品に仕立てるのはごく当たり前のことである。
人型、木の形は、単純に構成的に言うと、丸と縦の平行線が二本の組み合わせだ。
ただ、個人的には木の形はかなり書きづらい。円形を描いてから下に縦の平行線を描けばバランスをとることができるが、一筆書きに近い状態で描こうとなるとかなりバランスをとりにくい。構成的にも、画面の上部が重くなる変則的なものとなり、上部の重さと釣り合いをとるため何か足すことになる。
私の場合、人型は、まず縦の平行線を描いてから右の肩の線を描き、その後、左の肩、そして下の水平線を描く。最後に蓋をする。もしくは、左の縦線をひっぱって次に左肩を描き、同じように今度は右の縦線をひいて右肩を描き底の水平線を描きそして蓋をする。これが一番リズムに乗りやすい順序だと思っている。

村井正誠の抽象作品の中には木とおぼしき形態は見あたらないが、初期の具象絵画の頃のパンチュールNo.1、パンチュールNo.2、ゴルフジュアンの庭といった作品に見られる。
抽象の仕事を始めてからはそれは顔となった。具象時代にも山口薫風の人物画にはその萌芽が見られる。丸と縦の平行線が目立つ姉妹、ポウトレ・アラブ、アラブの女などがある。

At that time in 1971, the class of the following compositions of MURAI MASANARI was attended.
First of all, the grid line was pulled to full paper with the pencil, shape like the tree was penciled in the square frame, and a crowded problem was given by the sketchbook of F6. It is a screen composition done to paint it out with the pencil.
At that time, I waited considerably in this after having attended this class. It is because of thinking be infinitely thought about the combination.
At that time, a deep meaning of word "Book this sketchbook importantly" of MURAI MASANARI did not have the known way either. However, it is also certain that this word remained for a long time in the ear, and is possible to say by emphasizing it when only in this class, there is starting point Mahonatada of the design of MURAI MASANARI now.
I would like you to often pay attention to the screen in the left end of the second step on the screen. If it is made inverse, the part under the stripe that came off in white is a person type that is exactly the trademark of MURAI MASANARI. I think that finding the person type of the inversion everywhere finishes going out to every corner in this vein if it sees hard. It is not possible that MURAI MASANARI missed this shape.
Shape in the part of seeing the result by sideways upsetting and making the tableau inverse for the abstraction painting during production, and the blank is paid attention, and work B is expanded and it is very natural in another work to tailor.
When the person type and the shape of the tree are said simple and structurally, the parallel lines of full and length is two combinations.
However, the shape of the tree is not considerably personally written easily. It becomes even if it draws in the condition similar to stroke book and it is not easy to balance though balancing can be done if the parallel lines of length is drawn below after the circle is drawn. Structurally, to be heavy the upper part of the screen, to become irregular, and become it to take ..weight.. balance of the upper part, something will be added.
The person type draws the line of a right shoulder after the parallel lines of length is first drawn, and draws the left shoulder and the horizon below for me afterwards. The lid is done at the end. A left vertical line is pulled, a left shoulder is drawn as follows, a right vertical line is pulled this time similarly, and it has a right shoulder, and or, the horizon in the drawing bottom is drawn and the lid is done. It is thought that it is the order of this most much getting into the rhythm easily.
It is seen in the work of garden of Pantul No.1, Pantul No.2, and Golfjuan at an initial concreteness painting though neither the tree nor the form are found in the abstraction work of MURAI MASANARI.
After having started the work of the abstraction, it became a face. The sprout is seen in the person picture of the YAMAGUCHI KAORU style in the concreteness age. There are sisters from whom the parallel lines of full and length stands out and a woman in Poutore Arab and Arab, etc.