Manga Making General

[Anonymous No.4876808]

With the Tezuka Contest coming to a close, it's time to focus on new pastures. As this thread goes on, feel free to post links to publishers and other contests that are taking submissions, pitches, or entries.

The contest was only the beginning. Let's continue to support each other, post resources and opportunities, and talk about our works going forward.

Post resources, questions, in-progress pages, breakdowns of other works, etc. If a work is not yours, credit the maker (unless it's fucking obvious like a full page of One Piece or something).

Previous thread: >>4853356


Some resources.

Books:
"Understanding Comics", "Making Comics", "Manga in Theory and Practice: The Craft of Creating Manga", "Story: Substance, Structure, Style and the Principles of Screenwriting," 2000AD Script Book ( https://mega.nz/file/gtNQgY6L#p7vPA_fLOUwxINMBzAX62w_xx282FVQoMhUHDGtiCpE )

Youtube channels:
"Manga Senpai/Tokyo Name Tank", "SMAC! THE SILENT MANGA AUDITION COMMUNITY"

[Anonymous No.4876810]

Some western / indie publishers that seem to have a decent readership and are tolerant of or specifically cater to Manga:

Saturday AM ( https://www.saturday-am.com/ )
> Digital indie magazine, seems to be on the up-and-up
> Open submissions for long-form series; also distributes series currently being published elsewhere.
> Regularly publishes one-shots, making it a good potential outlet for already-finished work.

Noir Caesar ( https://www.noircaesar.com/ )
> Focuses on black (specifically African-American) content, but seems willing to publish anyone good enough.
> Seemingly series-based only.
> No "magazine" style updates; series are updated on their own schedule.
> Seems less regular than Saturday AM, but also seems larger in terms of readership.

Oni Press ( https://onipress.com/ )
> Technically indie, but at this point large enough by comic standards to be mentioned in the same breath as other publishers.

Antarctic Press ( https://antarctic-press.myshopify.com/ )
> Longtime large-indie publisher of OEL / manga-esque books.
> Seemingly taking submissions at present if http://www.antarctic-press.com/html/submissions.php is anything to go on.

Viz Media / Viz Originals ( https://www.viz.com/originals )
> *The* western manga publisher.
> Currently in the exploratory stages of setting up an English label.
> Submissions are open and several books have been announced. However, progress on the label seems to be moving very slowly.
> Still might be worth a shot anyway.

[Anonymous No.4876817]

Is the anon that made the Alice pilot still here? I've been meaning to review their work but haven't had the time, and just want to know if they're still around so I can give it a read.

[Anonymous No.4876825]

Is webtoon worth posting to at all to gain popularity for your manga. It is the most popular webcomic site by far but the format doesn't particularly support manga.

[Anonymous No.4876827]

Confirmation emails when?

[Anonymous No.4876837]

>>4876810
Thank you. God bless you anon.

[Anonymous No.4876838]

I rewatch the Day in the Life of a Manga artist so often my dudes. It's a bitter taste to know you'll never be like him and his assistants.

[Anonymous No.4876864]

>>4876838
Thank god I wont. Imagine killing yourself over drawing and being a pussy like the japanese are.

[Anonymous No.4876871]

>>4876864
I do every day, how great would it be. Imagine wanting to dying any other way.

[Anonymous No.4877267]

you guys ever browse through the mountains of undiscovered content, look up the user names of the artists who show promise, and feel uncertain about your own future when you realize how many of them gave up and much of an exception success is?

[Anonymous No.4877325]

>>4877267
No.

[Anonymous No.4877956]

>>4877267
If anything, you end up finding people who make it despite not being a big shot.

[Anonymous No.4878208]

>>4877267
most artist just do their usual comic for fun, not inherently aiming for world reknown status. Yeah sad from our perspective but who are we to judge. As long as they are happy I suppose. I follow a bunch of litterally who mangaka on twitter, but I dont think most of them dont mind about not being famous, even thou I feel compelled that they should.

[Anonymous No.4878915]

I've got a stupid question... but do manga/comic artists usually shade in the pencilling stage? If not, how would they know what the final image looked like, is it just in their head?

[Anonymous No.4879084]

Something I've noticed in regards to structuring manga pages. You can basically break them into 3 categories, each one serving a different purpose:

Illustrative Pages
Narrative Pages
Action Pages

Illustrative pages are heavily focused on the composition of the page from an illustrative perspective. Making the entire page into a compositional work of art. They tend to make use of a lot of pop out artwork, such as characters, or open frame panels, as well as layered panels. Overall, the sense of time in these pages kinda merges, as you're kinda meant to take it all in at once. The pages are also drawn in a way so that there's always a clear focal point within them, and then everything around them kinda stems from there. Story-wise they tend to be used to introduce characters or open a story in a very artistic way, or to give more compositional value to sweeping landscapes as you transition into a new setting, or open up the story. They are also frequently hybridized with Narrative Pages to kinda give those pages a bit more pop if they can. Togashi employs this technique a lot in HxH.

As for clear examples of manga that seem to have this style of page a lot, stuff like Tongari Boshi Atelier, and a lot of the more artsy H manga stand out immediately to me. Ohagi Endo who was posted here last thread is basically what inspired me to give this some thought, categorize these pages, and write these posts.

[Anonymous No.4879085]

>>4879084
Narrative pages pretty much focus entirely on clarity and moving the story forward. You use these a lot in dialogue heavy scenes, or during exposition. They'll essentially make up the majoty of the pages in a manga. You can easily hybdrize these styles of pages with the other two styles for more artistic pop and compositional value, or for more dynamism. The rule here though, is CLARITY IS KING. Making sure that what you're trying to convey is easy to follow and doesn't get in the way of the story. Wheras Illustrative pages focus on artistic merit most of all I feel, and Action Pages (while still needing clarity) tend to go much more heavily into dynamism and impact to make a story more exciting. Narrative pages are focused on... the narrative. So they work best if they can be ignored by the reader as they go through the story. General compositional ideas, you want to make sure everything flows smoothly from top right to bottom left (in manga) with as few ziz-zags as possible, following a clean line of action from panel to panel through the whole page. You'll also want to have one panel be the focal point of your page that stands out compositionally, typically this is the panel with the most dramatic impact in the page, narratively, be it emotionally or informationally; with the rest leading into, out of it, or both. Deceptively difficult to fully master. Also rely heavily on the rules of cinematigraphy. Correct use of camera angles for mood, framing, etc...

[Anonymous No.4879087]

>>4879085
Action panels for me have always been the easiest to draw I feel. Dynamism is the key here. Not much to say, but the line of action being clean through the movements of the characters is very important. Also worth noting, less is more when it comes to actional pages. Big panels give a lot more impact, and make pages easier to compose dynamically. Toriyama was the master of these, but Yusuke Murata is also worth studying I feel. There's several though.

Anyway, that's all I've got. I've been thinking about this lately, how to organize my thoughts for structuring pages within a manga. I'm sure I'm missing other style, but these to me are the three styles that stick out the most, as well as ofc hybrid styles. I feel that breaking these down, helps me piece together the composition of pages when drafting a name more easily, this is an illustrative page, this is a narrative page, etc... since they all have to be approached with different mindsets, and having this clear distinction I feel helps add more visual variety to your manga. Obviously not every page in your manga can be a compostitional masterpiece, as your goal is to ultimately tell a story. But picking out specific parts where you can dedicate an entire page into being a well composed treat, or finding parts of a page where you can inject hybridized elements, can help turn a story be more visually interesting and enjoyable to read, than just a straight shoot of all narrative-style pages. You can come out with a much more visually balanced package overall.

My two cents. Hopefully this helped.

[Anonymous No.4879413]

>>4878915
you should know how much effort you need to put into your groundwork to get to the results you want, and if you don't you will have to learn through trial and error.
If you're familiar with the process, then with standard panels you usually have a decent idea what the inked version is going to look like once you've established the basic composition, poses, expressions, and when you're doing something more elaborate you'll put down as much extra information as you need to not get stuck later on.

[Anonymous No.4880308]

>>4879413
I see, thank you

[Anonymous No.4881136]

[Anonymous No.4881422]

I wanna draw a sex scene with the privates covered in different angles the sex scene isnt no bullshit harem whatever you see in today's anime hentai or manga. would It be appropriate since sex is natural and alot of ppl wants to see the protagonist finally bones the best girl in his series or the most shipped couple would that drive readers away

[Anonymous No.4881437]

>>4881422
I don’t understand what you’re trying to ask here.

[Anonymous No.4881439]

>>4881422
You probably wouldn't be able to post it on a lot of websites, and even on the ones that you were able to post it on you might not get a ton of traffic since NSFW material tends to be looked at unfavorably, but technically you can do whatever you want.

[Anonymous No.4881513]

>>4881437
I'm trying to say a good sex scene in a manga ex: deku screwing uraraka after defeating shiggy

[Anonymous No.4881527]

>>4881513
There’s plenty of doujin sites where you can upload a doujinshi. You’ve also got twitter. Idk what you’re trying to ask though. You can do whatever you like.

[Anonymous No.4881546]

>>4881422
So you want to indicate sex scenes without it being full porn? There’s a few mangas like that. Whenever it’s appropriate or not depends on your target audience and where you want to post/ publish it.

[Anonymous No.4881589]

>>4879085
I agree narrative panels are hard to get through because it emulate real life, while action page are easier for me to imagine and draw out because simply it is can be exaggerated, and the poses are oftenly more fluent and dynamic. While attempting to draw natural poses are harder because you constantly have to fight with making it not look stiff (since stiffness in reality is quite common when you don't notice it)

[Anonymous No.4881749]

>>4881527
>anything goes
they said
>absolute artistic freedom
they said
but I can't even draw a cunt where it would reach an audience? I have to crawl into some godforsaken corner of the internet and hope to draw viewers to me by laying a fucking breadcrumb trail from more mainstream places and vainly hoping they follow it without getting lost or losing interest along the way?
fuck this shit. the state should guarantee me the right to get platformed anywhere I want as long as what I'm doing is legal. I should be able to run a hentai ad in the goddamned New York Times and if they refuse to run it sue them for discrimination.

[Anonymous No.4881772]

>>4881749
Anon, just because you can doesn't mean you'll have an easy time of it. People just aren't interested in certain kinds of things.

If you want to do stuff like that, focus on finding a niche audience or a platform that caters to that content and promoting your stuff to them. Getting a front page splash on the New York Times or a double-page spread in Time Magazine isn't gonna do anything if people don't really want what you're putting out anyway. Those god forsaken corners of the internet are where the interested people *are* in the first place.

[Anonymous No.4881774]

>>4881749
>but I can't even draw a cunt where it would reach an audience?
But you can. You just can't do it in any magazine you want. They have their own rules as dictated in the contract you sign when they hire you.
If you want to do whatever you want then self publish. You can make anything you want but then it's up to you to publish that and there's no guarantee anyone will read it.
If you don't like that then I dunno what to tell you bro, there's deeply seeded reasons for the way things are right now, if you don't want to play those rules then simply don't play.
But this modern age is the very best time it's ever been to make anything you want and for it to find an audience on your own, so if it's that or nothing then just do it and release it however you can.

[Anonymous No.4881788]

>>4881774
I don't have a problem playing by those rules, but the idea of liberal cunts patting themselves on the back striding through a modern art gallery and talking about how enlightened they are for not imposing any restrictions on art, then cancelling an artist for whitewashing Moana is a perfect microcosm for the political realities of our time. The idea that we live in an age of unparalleled artistic freedom where everyone is oh-so-tolerant and transgression is the new normal is a complete joke. That's all I'm really trying to say.

[Anonymous No.4881794]

>>4881788
"Make things people like if you want people to like your work" has been the way of the artistic world since 10,000 BC anon, it has nothing to do with culture war bullshit. Make work you like and enjoy it with the small group that likes it, or make work everyone likes and hate it while everyone likes it.

[Anonymous No.4881800]

>>4881788
Mate, the people you are complaining about are not even remotely the same people who restrict what you can and can't publish in a magazine or newspaper.

[Anonymous No.4881809]

>>4881794
I agree, it's not a culture war thing. Before the libs it was the religious nuts. If neither existed, then corporate interests and a pragmatic state would serve the function in a more limited sense. I'm talking about cultural normativity, and the fact that we all self-censor to only transgress in ways we're allowed to and it's limiting the range of artistic expression as a whole to a pretty insane degree.
I'm not sure why you're trying to argue with that, it's obvious, something we should all be able to agree on. I just wanted to complain for a bit before going back to dealing with it like a good boy.

[Anonymous No.4881812]

>>4881788
You're just making excuses.
I don't understand how any of these things you mentioned could have anything to do with your porn comic.
Just make it, if it's good you'll find an audience.

[Anonymous No.4881819]

>>4881809
> I'm not sure why you're trying to argue with that, it's obvious, something we should all be able to agree on.

Because coming right out of the gate with "god if those smug fucking libs at MoMA didn't exist then everyone would like my porn!" makes you sound deranged, anon. It's weird, and generally just not correct.

As you said, everyone is going to self-censor, because self-censoring specific parts of yourself is how you create a stable and unique personality.

> we all self-censor to only transgress in ways we're allowed to and it's limiting the range of artistic expression as a whole to a pretty insane degree.

No one has a gun to your head. You can still do those things. If people don't like the thing you make because their personalities or outlooks don't align with it, that isn't intrinsically bad. The work is still allowed to exist.

[Anonymous No.4882360]

>>4881749
>I should be able to run a hentai ad in the goddamned New York Times and if they refuse to run it sue them for discrimination.
No way this should be normal. Kids subjected to porn is not good, kids subjected to sex work is not good. If you cant see those things then I'm sorry.
>in before kids don't read newspapers
paperboys, school assignments. etc will make you read them. we had a guy who would bring the daily sport into class all the fucking time. as I've got older I really think we need to stop pushing soft porn ( topless/ non explicit nudes) into news, let alone full blown hentai.

[Anonymous No.4882380]

>>4881800
Not that guy but yes they are. That bullshit has definitely leaked into all kinds of media. Especially newspapers and magazines. You can get cancelled from drawing for wizards of the coast for liking the wrong kinds of news pages or public speakers on your personal Twitter account. Are you even paying attention to the kind of fucked up clown world were living in right now?

[Anonymous No.4882388]

>>4882360
Sex work is different, obviously, and the same goes for regular porn with actors. I think we should enforce the boundary between fantasy and reality more stringently.
However, I'm not sure exposing kids to sexual fantasy is the same psychologically as exposing them to sexual reality, i.e. whether it leads to insecurity, deviancy, teen pregnancies or anything like that - could well be that it's similar to violent fantasies in that it actually helps kids make sense of their sexuality and be more responsible. But in any case, our entire culture is already fucked beyond the point where NYT hentai adverts would matter. The amount of softcore porn you just run into being a kid with tv and internet and having a bit of curiosity is more than enough to function as a gateway.

[Anonymous No.4882391]

>>4881749
Yeah the FTC absolutely would not allow that shit. You can run a hentai ad in an adult magazine but the New York Times or a newspaper? My man, those are under the same kinds of advertising rules as over the air television. This shit is rated E for everyone. You are a fucking psycho.

[Anonymous No.4882418]

>>4882380
I'm paying attention to japan, my goal. I don't give a flying fuck about WotC, they were a write-off over a decade ago. I know japan is nothing like what you or the other guy is complaining about.

[Anonymous No.4882420]

>>4882388
Children shouldn't be exposed to any sexual shit whatsoever. It fucks their brains up severely. I would know, I was exposed to porn and molested at a young age and was seriously screwed up by it while the other kids my age had 0 thoughts or questions about any sexuality bullshit. You talk like a god damn pedophile.

[Anonymous No.4882429]

>>4882420
iktf anon ;_; but honestly once you get diddled that cat's kind of out of the bag and writing something that pretends otherwise just feels incredibly fake

[Anonymous No.4882431]

>>4882420
>molested at a young age
I think that might be the problem. I know I was glued to MTV for days on end during summer when those really hot music videos from Shakira, Britney Spears and the like were on repeat 24/7, I fapped to zone cartoons and other flash content, sometimes watched hentai, but it never really interfered with my everyday social life.

[Anonymous No.4882460]

>>4882388
>Sex work is different, obviously, and the same goes for regular porn with actors. I think we should enforce the boundary between fantasy and reality more stringently.
However, I'm not sure exposing kids to sexual fantasy is the same psychologically as exposing them to sexual reality, i.e. whether it leads to insecurity, deviancy, teen pregnancies or anything like that - could well be that it's similar to violent fantasies in that it actually helps kids make sense of their sexuality and be more responsible. But in any case, our entire culture is already fucked beyond the point where NYT hentai adverts would matter. The amount of softcore porn you just run into being a kid with tv and internet and having a bit of curiosity is more than enough to function as a gateway.
Perhaps it's different where you are. and while you have a point fantasy is not reality, and that a drawing shouldn't have the same effects as a real person. Hentai in the mainstream is a bad idea. its porn, even if its fantasy porn, and porn should never be anywhere near where kids can view it.
your right the amount of softcore porn that kids can access is a lot, probably too much. Im not for sheltering kids from sex ed, and I'm sure most of us had porn before 18. Some people are not ready, there not ready at fucking 30 sometimes. we need to protect those people, not sure how. but just going fuck it release the kraken seems wrong. From personal experience there was lots of things that probably messed me up beyond repair, and that's not something that should ever happen.( maybe its stupid, But its how i feel sorry)

[Anonymous No.4882464]

>>4882429
not that anon but it's very true. things never felt right

[Anonymous No.4882478]

>>4876808
>"Manga in Theory and Practice: The Craft of Creating Manga
is that book any good? never read jojo and i don't really like his style, but if there are general gems of wisdom in there i'll take a look.

[Anonymous No.4882497]

https://www.youtube.com/watch?v=szeqGXp5LFg

this video actually shocked me quite a bit.
i've been aware of those kind of lines, but this is the first time hearing that japanese normally draw that kind of line and not the other way around.

i've trying to figure out inking for the last few days or so and i've been stuck, i always felt like i had to make the lines thicker in the end to make it work but maybe this will help.

[Anonymous No.4882760]

>>4881422
tokyo ghoul re did something like that.check it.

[Anonymous No.4883054]

>>4882497
Westernbros...we are fucking DUMB

[Anonymous No.4883213]

>>4882478
It's mental note guide book for manga story writing. It's less about JOJO, but knowing Araki's work might help you traction more info from it. nevertheless, if you're inexperience with creative writing then this might help you organize your thought a bit.

[Anonymous No.4883289]

>>4882497
did he ever do the followup with something other than konjac bob?

[Anonymous No.4883299]

>>4883289
not that i've seen

[Anonymous No.4883486]

tell me the secret to digital manga inking motherfuckers i know you're all holding out on me

[Anonymous No.4883493]

>>4883486
go to PixivSketch, watch a bunch of streams of japanese artists inking their manga. Keep an eye for the CSP settings too.

[Anonymous No.4883497]

>>4883486
>1. Get B4 or B5 paper
>2. Get a G-Pen
>3. ???
>4. Profit

[Anonymous No.4883504]

>>4876810
Amazing, I was looking for that going into this thread
Cheers

[Anonymous No.4883505]

>>4883497
He said digital.

[Anonymous No.4883515]

remember 9/10 times your story is more important than any art
Doesn't mean your art can be shit though!

[Anonymous No.4883519]

>>4883515
my story ideas are so generic im just gonna use my manga to show off all those years of practice, hopefully the 1 person who sees it likes it

[Anonymous No.4883841]

>>4882497
The line thing is a result of two things: Time spent/familiarity with their tools (they just practice with g-pens a LOT which really need decisive, smooth line control) and the other is that their writing system is good practice for decision, smooth line control.
Practice and you can do it too, just remember that such skill is a result of many years drawing with those tools even before going pro.

>>4883486
It's entirely up to you dude. For one thing, what do you want to emulate? There's plenty of manga out there that are inked digitally and clearly look it (UQ Holder, Kengan Asura and many more) and there are many many that are drawn traditionally but probably wouldn't be too hard to emulate digitally (all of Tezuka's stuff and really just most manga -- they tend to go for clarity first and foremost so the things you can only do with physical ink don't tend to show up that much outside of when they're going for particular effects).

Emulating physical ink is a number of issues. Firstly, brush. Nothing I can really tell you here other than that ink bleeds on paper subtly (or quite obviously, depending on certain factors). The other is aliasing, an isue I'm not sure how to get around personally other than just drawing on fuckhueg canvases. There's also all the techniques and that's simply a matter of first observing them or recognizing them in the works you read and experimenting in emulating them.
I guess my main advice would just be to not be afraid to have messy (BUT STILL CLEARLY DEFINED AND CONFIDENT) lines and lots and lots of ink. Physical linework tends to be a lot less "perfect" than digital ink. There are minor mistakes all over your typical traditionally-inked manga, often very subtle and hard to see if you're not looking for them. These small, subtle mistakes are what makes digital inking often look lifeless in comparison. So really just treat digital ink as traditional and don't erase imperfect lines. Obviously you can still erase but limit it.

[Anonymous No.4883933]

>>4883841
>writing system is good practice for decision, smooth line control.

It’s really not. As someone who knows Japanese, is studying it, and lives in Japan. The only plus is that they take caligraphy class from Elementary school, but that really gives then more practice with the ink BRUSH. Which is why so many of them know how to stylize their onomatopoeia so well. But on the flipside, art class is also a mandatory curricular course that’s taken seriously in Japan, unlike most of the west, so they also get their practice there. Hanging put with Elementary schoolers (since that’s what I teach), and going with them to manga/illustration club, none of them ever touch a G-Pen unless they’re keenly interested in drawing manga and have picked it up themselves. But Kanji doesn’t afford them any particular advantages when it comes to drawing, libe control, or art truth be told, especially when you factor in how messy it can be when adults tend to write with it (no different from how were write in roman letters). I had to do calligraphy too since Elementary school for cursive writing, and writing cleanly in those takes as much practice and precision. In fact, I’d even say I felt the opposite experience. The calligraphy teacher at my school was thoroughly impressed at how quickly I picked up on writing with the fude pen and making kanji look good, despite being a total amateur, and said “ofc, it must be cause of your art background.” As an artist you simply gain a better eye for balance, which I’d argue is the singlemost important thing in Asian calligraphy. And again, this only applies if said person LIKED calligraphy enough growing up to actually bother taking it seriously. A lot people don’t.

tl;dr - the Japanese writing system doesn’t afford any significant advantages for drawing outside of how you stylize your onomatopoeia in manga. The rest is pure myth. Literally, only like... 20% of kanji are “picture” based anyway, the easy ones.

[Anonymous No.4883966]

>>4883933
As someone who literally never touched a brush pen until I started drawing, I still think they have the inherent advantage of overlap in tools between what they learn in school and what is useful drawing manga.

[Anonymous No.4884020]

>>4883966
A brush pen is less similar to a G-pen than a Ballpoint pen is.

If you want to learn to use dip pens, then buy dip pens and practice with them. I personally found greater dexterity with the G-Pen than most people tend to simply due to years of working with CSP and digital inking on a Cintiq. I don’t think their compulsory education really gives anyone any natural advantages, outside of the fact that artists in Japan are encouraged to pursue art from a very young age, and yes, that includes drawing anime/manga. Even if they don’t make it a career, art is not the sort of thing that’s looked down on like I felt it was when I lived in America, where art class was one of the bullshit classes you took in hs to talk to your friends all period and do nothing, and the teacher just sat at their desk and did nothing.

[Anonymous No.4884023]

>>4884020
>A brush pen is less similar to a G-pen than a Ballpoint pen is.
Anon I'm not saying they have familiarity with g-pens, I'm saying using a brush pen teaches them to control their strokes from their arm/shoulder instead of just with their wrist.

[Anonymous No.4884069]

>>4884023
Not as much as you think. Japanese kids will still chicken scratch when drawing unless taught otherwise. And I’m talking 5th and 6th graders. Plus, learning to draw with your arm is literally the VERY first thing you learn when learning to draw anon.

The reason I’m telling you all this btw isn’t to argue, it’s so you don’t set limitations for yourself and others over “well the Japanese have an advantage over XYZ when it comes to drawing because reasons.”

There are no advantages. The only real ones are access to a much better developed industry, with tons of resources for learning, and being able to readily consume manga from a very young age, gaining tons of exposure to it. But nothing in regard to their compulsory education gives them an inherent advantage over westerners that we have to make up for. When a person decides to learn art seriously, then we all pretty much have to go through the exact same learning process. The Japanese just have the option of being able to come to that decision earlier in life since art isn’t treated like a joke, culturally.

[Anonymous No.4884225]

>>4884069
>since art isn’t treated like a joke
This applies to any trade, really.

[Anonymous No.4884400]

>>4883841
>>4883933
>Emulating physical ink is a number of issues
people even go out of their way to use a Gpen with the size randomizer on sometimes to get that feeling of imperfection.

also i wasn't necessarily talking about having advantages or whatnot. it was just about the difference in approach. the guy in the video was probably exaggerating to some extent as well.

>>4883933
since you know japanese, i wonder if you know if the jp net has any recommended books for inking (translated or not).

[Anonymous No.4884650]

>>4881527
hes trying to say that in most anime and hentai sex is forced and cringey he wants to make a shounen manga that ends with the main character shagging and impregnating the best girl who he has the most chemistry with who's been there for him and helped maybe even saved his life

[Anonymous No.4884664]

But a a shounen manga by definition is aimed at, well, shounen. It ceases to be a shounen manga the moment you're targeting adults.

Besides, we already have Shaman King which did what this guy is talking about only tastefully.

[Anonymous No.4884665]

>>4884664
meant for >>4884650

[Anonymous No.4884675]

>>4884650
>>4884664
Shaman King did it, as did Mirai Nikki. Dragonball did it too. Idk if Shaman King showed them bone, but MN did.

[Anonymous No.4884690]

>>4881513
Pillowfort? you can upload entire issues at a time. it does have a $5 gateway though

[Anonymous No.4884711]

>>4884675
>Mirai Nikki
well Yuki thought well might as be nice to her as were just going to die anyway.
>Shaman King
ehh i guess
>Dragonball
>Not sure how anybody can take dbz seriously
It ceases to be a shounen manga the moment you're targeting adults
exactly. if you want to do a sex scene you have to do in such an implied way or have a time skip with people married.

[Anonymous No.4884749]

>>4884664
teenage boys are famous for their aversion to sex and refuse to consume anything containing reference to it.

[Anonymous No.4884804]

>>4884749
The thing about sex scenes though is that they’re generally gratuitous. 99% of the sex scenes in Hollywood films literally serve no meaningful narrative purpose. In all honesty, rape scenes have more relevance to a plot as they can create conflict and drama, but sex scenes... unless your story is going to be driven by some incident that tool place during your characters boning, then it literally serves no purpose and you're better off cutting it out. And that’s the thing about writing, if you’ve got a scene that neither moves the story forward or conveys character, then it’s a useless filler scene and should be cut.

[Anonymous No.4884864]

>>4884804
you are probably true in this analysis. often Directors/artists/ writers are told to add sex scenes by editors or those paying for movies/ tv. if you think bout it if you cutll the sex from certain films/ comics and or manga/ novels you'd probably end up with much less runtime/pages.

[Anonymous No.4884871]

>>4884864
yep. a romance subplot can be used to give the protagonist some extra motivation, raise the stakes a bit, give the audience eyecandy and something to fantasize about. it's also common to give every male character some scenes where they show interest in women just to signal that they definitely aren't gay. it's very mechanical but normies don't seem to care much.

[Anonymous No.4884894]

>>4884871
romance is often very missing sometimes in modern media ( should i say western media? as honestly the only decent romance i can think of were manga ones? ) Romance is kinda difficult too, what IS romance to you might be odd to somebody else. Hell, millions of people still have arranged marriages, even in japan theres centeres that basically do this ( is that romance or just accepting company? does Love actually exist ?.. imo it doesn't its fiction but that's why i like reading about it)

[Anonymous No.4884925]

>>4884400
Not on inking specifically, but I do plan on picking up Giga Town Manpu Zufu soon, which to do more with I forget what it's called, but the symbol language of manga. It's a compendium of pretty much all of it. Not the onomotopoea, but other stuff used to convey a charcter's emotions subtly. It was recommended in the Kyoto Manga Musuem. If I come across anything I'll post about it in the future though.

You guys mind if I dump some art?

[Anonymous No.4884926]

>>4884925

[Anonymous No.4884928]

>>4884926

[Anonymous No.4884930]

>>4884928

[Anonymous No.4884931]

>>4884930

[Anonymous No.4884933]

>>4884931

[Anonymous No.4884936]

>>4884931
Still getting a feeling for her exact facial design. Gonna make some SLIGHT tweaks as I do some expression sketches tomorrow. I'm satisfied with the direction its going tho.

[Anonymous No.4884937]

>>4884936

[Anonymous No.4884938]

>>4884937
And the last one, this is the first Horror she hunts, for the pilot. I gotta do WAY more Horror sketches and designs though.

I'm gonna move onto EVR stuff though for the next bit. I gotta design Oz's Observatory, and the Cottage and fields for the pilot. I also wanna do some test stuff with the 3D. Soon too.

[Anonymous No.4884962]

>>4884930
I absolutely love the scarecrow/jack pumpkinhead(?) design here. Incredibly simple, yet really effective.

[Anonymous No.4884967]

>>4884962
He's probably my favorite too. He's gonna join up with the main cast. I like the idea of a Horror being a part of the party. Personality-wise, I wanna make him kinda like Bender from Futurama. With Hans, the male sidekick kinda being more like Fry, so they have that sorta dynamic. Then you toss in Alice's sarcastic and smug little stuffed rabbit, and the 4 of them make a nice, fun, little group with interesting character dynamics.

[Anonymous No.4885121]

>>4884894
I meant romance in the mundane "boy meets girl, they're into each other but she's not sure if he's worthy of her attention, then he proves himself to her, possibly saves her from danger, kiss as an implicit promise of sex before the climactic confrontation in act three"-sense. You're right, our modern representation of romance in popular fiction is shockingly lacking.

[Anonymous No.4885133]

>>4884928
>>4884930
>>4884931
>>4884933
>>4884936
I unironically love them all. Very evocative and unique. I can tell a lot about each indivual character just by looking at them.
The girl with the halberd is especially well done.
Great job

[Anonymous No.4885173]

>>4884925
>>4884926
>>4884928
>>4884930
>>4884931
>>4884933
>>4884936
>>4884937
>>4884938
>>4884967
Those are amazing anon. Best wishes to you and your art!

[Anonymous No.4885180]

>>4884967
what's the story?

[Anonymous No.4885196]

>>4885180
story?
just kidding, not the same anon.

[Anonymous No.4885215]

>>4885121
>I meant romance in the mundane "boy meets girl, they're into each other but she's not sure if he's worthy of her attention, then he proves himself to her, possibly saves her from danger, kiss as an implicit promise of sex before the climactic confrontation in act three"-sense.

you know the best romance maga recently was Boarding school juliet, and that was because it was inspired by shakespeare who ripped it off somebody else. Not to say that it wasnt unique ( you know unlike shakesperes which is just a fucking copy with new names... its called tristan and something)
when we get modern romance as 50 shades or twilight in the west or instanly ending on confessions ( like certain manga ) in japan not exactly going to say romance is in good shape also.

why has romance become difficult to write? Are people so brainwashed by bubblegum twilight sparkle holywood garbage that we don't see love ? and is it wrong to want somebody to understand us? can anybody truly understand anybody? and in that way truly love anybody? Not smart enough to answer these questions, wish that i were, not sure many are because ask ten people you'll get 11 answers.

you know its hard to write a romance story. that's why ive tried to read most fluff released

[Anonymous No.4885230]

>>4885133
>>4885173
Thanks!

>>4885180
The elevator pitch without going into detail on the core drama of the overarching narrative is: it’s about a witch (Alice) who hunts horrors in a late medieval dark fantasy/gothic setting.

The pilot (which has been rewritten several times), will focus entirely on Alice, and her first solo hunt. Sorta build up a simple straightforward story, with a nice KiShoTenKetsu, and strong emotional payoff. Summary for that is: Alice was orphaned as a child after her parents were murdered by a band of raiders. Oz took her and adopted her, and turned her into his apprentice. A letter comes in for a job, a man’s only daughter and last remaining family member was killed by a horror and he wants revenge. So much to her surprise Oz sends Alice to do the job alone as he believes she’s ready. She’s anxious/nervous about being sent out alone, but goes anyway. And the whole drama for the pilot is about Alice learning to trust herself/have confidence in herself in order to complete the job. Vaguely speaking, I don’t wanna go into too much detail on how it all ties together, or the nuances of it, as I’d spoil the Ten and the Ketsu, and how it all ties together is pretty satisfying.

I’ll post either the screenplay or the name once they’re ready so you guys can give it a read (probably the name since this pilot is heavily reliant on mood to build tension and terror, and all that is done visually through framing - but it’s got this nice slow “comfy” but terrifying cabin in the woods build up as Alice prepares to fight the horror, and then the actual fight against it).

[Anonymous No.4885232]

>>4885215
The reason why is because modern romance stories aren't there to be stories - they serve as a wish fulfillment fantasy to the reader. There are very few good examples of modern romance stories that appeal to more than the reader's libido, and those that do are far and few between.

[Anonymous No.4885242]

>>4885232
name some

[Anonymous No.4885286]

How the hell professional Mangaka manage to draw so fast and make interesting stories on the fly? Are they pure genius like 1 in a million and have sort of special autism to be able to draw for 18-20 hours?

[Anonymous No.4885298]

>>4885286
Yes.
Animators too.
They get in the industry because it's what they love to do and are willing to spend 16 hours a day glued to a chair to draw anime.

[Anonymous No.4885303]

>>4885286
They've got assistants to help them draw fast and editors to keep their stories interesting. Some mangaka also do stuff like tracing photos of locations they've taken or use 3d modeling software to speed up their workflow.

[Anonymous No.4885364]

>>4885303
Only super popular ones can afford to hire assistants, the rest are by themselves, alone in their room working insane hours.

[Anonymous No.4885419]

>>4885364
Super popular? Most mangaka use them, especially if the manga releases weekly.
Do you think the people asking for assistants here are super popular?
https://ganmo.j-comi.co.jp/posts

[Anonymous No.4885559]

>>4885419
some articles gives a impression as if assistants are a luxury that only the big names can afford, i guess it's not as bad
https://www.ranker.com/list/why-being-a-manga-artist-is-terrible/hannah-collins

[Anonymous No.4885577]

>>4885364
>>4885419
I know Itou Junji and Takahashi Tsutomu have no assistants, just from watching the manben docs

[Anonymous No.4886401]

How important is inking and line-weight?

[Anonymous No.4886418]

If I went to japan to study at a language school and tried to work part time as a mangaka assistant would the work conditions and hours be just as shitty as being a real mangaka or would I get it a bit easier being only an assistant?
I wouldn't want to have to work 16 hours a day drawing. Anyone here ever work in japan as a mangaka assistant?

[Anonymous No.4886421]

>>4885286
No. They're normal people who just put in a ton of time you dumb ass. They're able to make interesting stories because they have experience and because they've already done 100 previous drafts. They're able to draw for 18-20 hours because if they don't, they won't even be able to draw for 1 hour after they're cut from their magazine.

[Anonymous No.4886436]

>>4884930
>>4884926
>>4884925
I love these designs, it's like a love child between animu and that peculiar high-gothic macabre style.

[Anonymous No.4886438]

>>4883841
sorry i was gone, but thank you for the good reply, i really don't know what i'm trying to do, i just know that when i do things on CSP with the gpen i'm never happy with the inking i do, it looks off and uninteresting, compared to lots of inking i see in both digital and traditional

[Anonymous No.4886470]

>>4886438
Mess with the settings if you're unhappy, but mostly just try to copy the linework you like. It's just practice.

[Anonymous No.4886526]

>>4876808
Anyone got good guides or pointers on how to draw 90's styled manga? Like Ghost Sweeper Mikami, Rayearth or The Slayers.
I tried looking around but I only get "how to make fake anime screenshots with these grain filters" guides without proper pointers on the artwork itself.

[Anonymous No.4886540]

>>4886526
Draw what you see?

[Anonymous No.4886546]

>>4886540
Yeah, but I thought I'd still ask for some pointers. I know I'm not doing it well since I've been told by a friend what I draw looks more like a mix between the 70's and the first half of the 00's.

[Anonymous No.4886698]

>>4876808
>thread is still alive
This pleases me greatly :)
Keep on going forwards, friends!

[Anonymous No.4886716]

How do you write stories before you inked them?

[Anonymous No.4886737]

>>4876808
https://mannavi.net/

This needs to be added to the OP for anyone interested in more contests. It’s a compendium of every manga contest going on in Japan. Some are online only too like Jump Rookie. I imagine if you translate it into Japanese (Google is your friend - then get someone one HelloTalk to proofread for you), you’d be able to enter just fine.

Definitely worth keeping track of to keep people motivated. There’s pretty much several contests on every month.

[Anonymous No.4886743]

>>4886737
Wouldn't the issue be if you have to appear in person though? Unless that doesn't happen.

[Anonymous No.4886948]

>>4886716
I have an idea .doc where I just write down whatever stream-of-consciousness style, retarded shower thoughts an outlines .doc where I make the commitment to think through any individual premise from beginning to end, meaning characters, their motivations, what they think of each other, conflicts, important scenes and how to get to those scenes, symbolism, and when I actually decide to write a story in earnest I'll write a scene-by-scene breakdown in outlook (it lets you create seperate text fields and move them around independently, supports drawing on the "whiteboard" and highlighting, so it's basically perfect).
With shortstories you can skip 3 and just write a more comprehensive outline, obviously.

[Anonymous No.4886953]

>>4886948
lmao, should really have proofread that

[Anonymous No.4887060]

Since my previous one-shot project has sort of spiraled out into something larger I'm thinking it might be a good idea to step back and work on something smaller and simpler first. Gonna use an older idea I had for it; putting this here and saying that I'll post some new explorations for it soon in hopes you guys will help keep me accountable.

[Anonymous No.4887599]

is zooming in too much a problem

[Anonymous No.4887617]

>>4887599
depends on the context hentai artist do it constantly

[Anonymous No.4887662]

yo mmg, dip from my live

[Anonymous No.4887677]

>>4887599
It could be. Have a floating window with your page at the intended view size.

[Anonymous No.4887690]

>>4887599
Yep. Leads to overdetailing. It’s the hardest habit to break, but set a zoom limit for yourself “never past this point.” Based on the comparatively size to a real A5 page.

[Anonymous No.4887708]

Would it be worth it to go to a vocational school for manga drawing in japan?

[Anonymous No.4887735]

>>4887708
there's a few distance learning ones and there's the occasional seminar that people do but not seen an actual dedicated course

[Anonymous No.4887755]

>>4887735
I was looking at the website go go nihon, and it looked like they had a few vocational schools with manga courses. I just don't know if it would be worth the time or money as a gaijin who just wants to draw good

[Anonymous No.4887798]

Currently, I'm trying to balance:
>University work
>Writing practice
>Drawing practice
>Drawing comics for my instagram (very short, single-scene comics)
>Developing my webcomic (longer stories)

It's too much work though, I never get to everything I need to do each day. I have too many ideas for my comics; I want to draw them all, but I keep getting bogged down in my daily studies in writing / drawing.

So... I'm thinking about cutting out my "drawing practice". That would free up 90 mins more a day. Will just drawing comics give me enough practice to keep improving? I'll look up reference and do studies when I run into specific problems of course, but after a certain point, I don't feel like I need to routinely do art studies anymore. I've got the fundies relatively pinned down, (Not drawing professionally by any means, but I'm not a total beginner either, from what I can tell by posting my art here) Am I shooting myself in the foot if I don't keep doing studies just for the sake of studying?

The biggest problem I see with doing comics to improve is that a lot of time is spend on detailing, inking, coloring, lettering, etc. I wouldn't be drawing all the time. But I'm not sure how big a deal this is.


Besides all that, for you guys personally, how much writing and drawing practice do you get in each day?

[Anonymous No.4887809]

>>4887798
i wake up at 6am, draw until 12pm, usually i work on whatever i'm working on, or if i feel the need to practice something i use that time to practice, i don't have a designated "practice time", to me, even just drawing is practice, and like i said, if i feel i need to brush up or practice something i just use my designated drawing time

then after my drawing session, i study japanese for an hour or two and then spend the rest of the day jerking off and playing video games until midnight where i sleep and repeat
i really need to practice writing though

[Anonymous No.4887816]

>>4887798
Post your art so we can give you a better idea as to what you should be doing anon. It's impossible for us to tell you whether or not you should be practicing anymore without seeing your work.

[Anonymous No.4887876]

>>4887809
That sounds really good, getting in 6 hours of work a day. I might just do what you do, just working on my projects and studying up when I need to

>>4887816
My art looks like this. My rendering sucks ass though, and I'm still trying to figure out the manga workflow of pencilling, inking, filling in blacks, etc. I actually have no idea how to make a good composition or make a mood with values and tones, but I'm hoping that making manga would help with that more than just aimlessly figure drawing studying anatomy.

[Anonymous No.4887906]

>>4887755
id be very cautious of things that lock you into specific accommodation. Japan is not great with renting to forigners and they really can pull nasty tricks on you ( experienced this twice it was unpleasant, not in japan though)

[Anonymous No.4888025]

cant draw faces

[Anonymous No.4888119]

Cautiously trying to draw things in manga style. I'm still not completely used to using halftones/screentones.

[Anonymous No.4888122]

>>4888119
try doing them by hand

[Anonymous No.4888136]

>>4887876
Your rendering sucks ass because you're trying to render something that doesn't have a definite form and you're not good with values. I think you should really work on those fundamentals youre lacking in before you try going all out on rendering. Though, you do need to learn that too. I highly recommend starting with less complex 3d forms like fruit.

Also if youre specifically going for comics and crosshatching, alphonso dunno book on inking would probably be helpful to you, I see a lot of those techniques used in comics.

[Anonymous No.4888139]

>>4888136
alright, thank you. I'll keep studying then

[Anonymous No.4888177]

>>4887690
This shit is really hard for me because I do it even worse on paper. I get in real close with my eye to see the texture in the paper and what the ink/lead has done. You can't even really do that in digital because it's all pixels past a certain point.

[Anonymous No.4888494]

https://www.strawpoll.me/20990948

[Anonymous No.4888637]

>>4888136
not him but im going through that book and its just stuff my high school art teacher taught me

[Anonymous No.4888686]

>>4887798
>Will just drawing comics give me enough practice to keep improving?
That depends. If those comics are challenging your drawing skills then yes, but if you're just drawing the same or very similar angles/environments/scenes every day then it probably won't be enough to teach you anything other than familiarity with your tools. In order to actually learn you need to challenge yourself. As long as you're experimenting and generally drawing things outside your comfort zone then yeah you can definitely just use actually making comics as your learning tool. It's what I've done and I've certainly improved.

Personally I think you should do art studies when there's someone you want to learn from, or there's something you know you're missing that the subject of your study has. If you're not motivated by something specific like that I think one might not really get a whole lot out of such studies. So, really, just do your own thing and if you see someone's work that you want to incorporate into your own work then study them.

>The biggest problem I see with doing comics to improve is that a lot of time is spend on detailing, inking, coloring, lettering
The thing is, if your end goal is comics then those are things that you need to practice anyway. It'll feel real bad when your sketches look great but your inks look like crap because you didn't really practice inking as much.

[Anonymous No.4888749]

>>4887809
I wish I had this level of freedom...

[Anonymous No.4888943]

>>4888749
i'm very privileged and lucky friend, i hope that one day every artist can have the same level of freedom

[Anonymous No.4888944]

>>4883486
literally just use shape dynamics and go a couple pen sizes lartger than you would usualy draw so that your lines taper when you use less pressure

[Anonymous No.4889658]

So about backgrounds.
Currently all I have worked on is trying to draw appealing characters and while I'm still working on that I tried drawing a background for the first time yesterday.
And it looked kind of bland and uninteresting.
What are some things to keep in mind while designing backgrounds other than perspective? How to keep them interesting?

[Anonymous No.4889660]

>>4887809
you sound like somebody I used to commission

[Anonymous No.4889707]

>>4889658
>What are some things to keep in mind while designing backgrounds other than perspective?
Composition
>How to keep them interesting?
Composition

I recommend you look deeply into cinematography.

[Anonymous No.4889767]

>>4889658
Well you should post it so we could help out better. But one thing I notice often with beginners is a lack of texture. There should be some sort of weathering on buildings, or at the very least some hatching. But, it really depends on what you’re going for. Sift through your favorite mangas and compare what they’re doing and what you’d want to incorporate in your own work.

[Anonymous No.4889844]

>>4889707
I'll look into it thank you sir.

>>4889767
Hoped I wouldn't need to but okay, not a fan of posting things I lack confidence in. Please don't absolutely tear me apart this is just a rough.
I think I got some perspective issues, haven't really learned that beyond the basics yet. Wanted to check out that draw a box thing today.
What I'm ultimately aiming for is fantasy backgrounds though, stuff like made in abyss and berserk for example. But that might be a bit much for a start.

[Anonymous No.4889867]

>>4889844
Thanks for posting. This perspective seems off. Now I’m still learning perspective myself, but it looks like you could use a 3 point perspective for this shot. Never really sat down to read either of the titles you mentioned. I think Berserk has heavy hatching and Abyss looks like digital watercolor. Part of good backgrounds is figuring out how you’re going to render them. But take it one step at a time. Focus on perspective for now.

[Anonymous No.4889880]

>>4889867
>>4889844
I think the arm with the pan/ head throws it off, certainly seen worse ( some even had serialization) seen a lot, lot of ppl use stock bg so those who stick with it and do there own really do have my admiration.

[Anonymous No.4889891]

>>4889867
Will do. Other than draw a box, got any recommendations for learning perspective by any chance?

>>4889880
Thanks, that means a lot to me. Wouldn't want to take the easy way and do something like that, especially since it doesn't help me improve.

And yeah it's a bit wonky right? Had a different image in my head when I started drawing this, which lead to some issues I suppose.

[Anonymous No.4889906]

>>4889891
Not that anon, but I recommend Marshall Vandruff's perspective course and Framed Perspective. Vol. 2 of Framed Perspective covers human figures.

[Anonymous No.4889907]

>>4889891
Some anon posted this in another thread. It seems easily digestible.
http://archives.evergreen.edu/webpages/curricular/2007-2008/fova/docs/linear%20perspective0001.pdf

You can look into the Art Book thread and download other perspective books as well. I got them, just haven’t had enough time to go through them to recommend any specific titles. The Framed Perspective looks relevant to comics, but that was linked in a separate thread that might be archived soon.

[Anonymous No.4890007]

Keep in mind anon that you're meant to basically eyeball perspective rather than measuring it out. You SHOULD measure it out at least a couple of times but the idea is toget perspective roughly accurate rather than perfectly correct.
And regarding backgrounds, yeah a lot of it is simply having a large visual library built of of shit to throw in there. Look at lots and lots of photos. Save every image you see that has a neat environment and trawl through that shit any time you need to fill out a background. As that anon says, look at what mangaka do (or rather, their assistants lol). A lot of backgrounds you see have lots of contour hatching and scraped screentone to define the forms and avoid it all looking blank and bland.

[Anonymous No.4890076]

>>4889906
>>4889907
>>4890007
Thanks will look into it.
And will do, have not spend too much time analyzing backgrounds when reading manga
so far. I will pay more attention from now on.
I still lack in experience but you guys have really given me some valuable advice here I feel. Appreciate it!

[Anonymous No.4890130]

>>4889660
probably not me i dont have enough followers and i never done a commission

[Anonymous No.4890255]

you ever thinking your thinking too much and you should just fucking draw

[Anonymous No.4890268]

>>4890255
all the time

[Anonymous No.4890392]

Do I use anti-aliasing in my brush settings or not?

[Anonymous No.4890624]

can someone translate this I'm having trouble drawing indoor backgrounds

[Anonymous No.4890655]

>>4876808
Who is the mangaka (and the what's the name of the manga that's being drawn) in OP's pic?

[Anonymous No.4890661]

>>4890624

[Anonymous No.4890668]

>>4884925
Damn! So good. How do you do the screentones like that?! Every time I try to do em they fluctuate with the image size and it becomes really unpleasing to look at. The ones you have here though look so clean and nice.

[Anonymous No.4890829]

any tone abusers in the chat

[Anonymous No.4891114]

>>4890668
>they fluctuate with the image size and it becomes really unpleasing to look at.
Same thing happens with my images. Curious if anyone knows why this occurs.

[Anonymous No.4891129]

Do we have to ink with an "inking" brush? Or can we just finish our lines with a pencil brush. I can control that a lot better.

Not sure because I know inking came about because of archaic printing processes, but I'm not sure if its still the same

[Anonymous No.4891142]

>>4891129
You don't "have" to do anything unless you're actually being published.

In terms of control. I know it sucks, but you won't get better at inking if you stick to pencil.

[Anonymous No.4891146]

Figured I'd ask here, but I seem to be having some issue with the "tone" effect in CSP. It appears that whenever I use it on an image that was "painted" in gray scale, it always seems to "lighten" the image no matter how much I mess with the settings. Pic related hopefully shows what I mean. If I am perhaps missing something obvious here, I apologize in advance. I am very new to comic/manga creation and CSP as well.

[Anonymous No.4891154]

>>4891146
I think this photo demonstrates the issue better.

[Anonymous No.4891212]

[Anonymous No.4891221]

>>4891212
Eh?

[Anonymous No.4891328]

>>4891142
yeah, you're right. Always good to learn things to proper way first.

But, with digital inking, I can't get anything that looks like pic-related. The hatching and gradations are impossible to me, and each stroke is so ugly. And when I color in my drawing, the flat colors all look so horrible and amateurish, I have no idea how to make an environment beautifully drawn. It's all just so cartoony and garish

[Anonymous No.4891360]

>>4891328
Anon, I guarantee you're going to have the same problems if you were drawing traditionally as well. It's not easy to draw like somebody who's been drawing every day for 40+ years. It's a matter of practice. Urasawa's line work has a lot of subtleties to it that make the image feel more alive. Even just in that one panel you can see a lot of fantastic uses of varied line weight. On top of that, he draws incredibly quickly... so, when you think about it, it's silly to expect to be able to draw like someone like Urusawa without many many years of experience.

[Anonymous No.4891369]

>>4891221
you don't have a folders for your stuff?

[Anonymous No.4891370]

>>4891328
The best way is to just do studies. Re-ink entire pages to get a feel for things. I might do the same desu.

[Anonymous No.4891376]

>>4891369
I do. A lot more than that. Just wanted context tho.

[Anonymous No.4892884]

Hey there, I'll be dumping this manga exercise what I made last week. It's a good study to learn paneling, pacing, composition, page turners and overall flow of the story.
The idea is to take a scene from a movie or video which you like and then try to draw in manga form. The hardest part is to figure out how big panels do you need for which scene.

I used this video as the subject which was a bit easier since it's already almost like comic or animation.
https://www.youtube.com/watch?v=I3QJ8Pgjj3c

I'd like to hear your input on did it work on manga form and feel natural to read. Maybe you should read my draft first and then check the video to see if it was paced correctly.

[Anonymous No.4892886]

>>4892884

[Anonymous No.4892887]

>>4892886

[Anonymous No.4892889]

>>4892887

[Anonymous No.4892890]

>>4892889

[Anonymous No.4892893]

>>4892890

[Anonymous No.4892896]

>>4892893

[Anonymous No.4892900]

>>4892896

[Anonymous No.4892902]

>>4892900

[Anonymous No.4892905]

>>4892902

[Anonymous No.4892908]

>>4892905

[Anonymous No.4892910]

>>4892908

[Anonymous No.4892912]

>>4892910

[Anonymous No.4892915]

>>4892912

[Anonymous No.4892918]

>>4892915

[Anonymous No.4892921]

>>4892918

[Anonymous No.4892926]

>>4892921
The end.
I want to learn how to write more impactful scenes for my own works. Also some character drama.
Maybe I'll try some other video or movie scene later but it is little bit taxing to make something like this, especially if the scene is many minutes long.

[Anonymous No.4892931]

>>4892926
yo this is some dope shit i like it

[Anonymous No.4892961]

>>4892926
Overall this is really solid. The flow is good. The reading order is clear. The hikigomas are well established. The only thing I'd try to advice you is to try and be more mindful with your bubble placement, and try to draw your compositions in your panels so the line of action reads smothly from frame to frame guiding the eye as it should. You can also perhaps try to challenge yourself some more by trying to rethink of how you could redraw some pages for more effective storytelling. Sometimes, the best framing comes after mulliing over it for a bit. Study your favorite manga and see what you can immitate. Study Akira Toriyama cause he's a god when it comes to line of action, and pick up the book Framed Ink, and see what you can apply.

Overall though, solid work. Nicely done.

Also, if you find these too tiresome, try doing OC next. It's more motivating to work with OC than doing these. Albeit, they are fantastic excercises.

Also also, if you're gonna do one. Try doing a dialogue scene from a film. You'll see they're way harder to do than moody setpieces like this. But manga will feature scenes like those more often than you think, and you still gotta find ways to make it visually interesting. I think that will challenge you more.

[Anonymous No.4892989]

>>4892961
depends on the film

[Anonymous No.4893153]

>>4892884
The transition from the first page to the second page was hard to understand. Other than that, how long did this take you? I’m wondering what an acceptable timeframe is for drafts like this? Anyone got any other good exercise suggestions similar to this? Or is it just better to start a project?

[Anonymous No.4893237]

how do you fucking render the iris/eye in black and white

[Anonymous No.4893243]

>>4885286
i mean you basically answered it in your own post.
they literally have japanese work ethic drilled into their heads and spend 16-20 hours a fay drawing almost every day aside from the occasional day they give themselves off every now and again.
it must actually really suck when you stop to think about it, considering the amount of work they put into their art/stories they get an abysmal cut of the earnings and even super famous ones like kentaro miura basically spend their entire lives living like hermits inside their homes just for people to call you lazy when you ramp down production after basically dedicating more than half your life to a single story.

[Anonymous No.4893258]

>>4893243
> they literally have japanese work ethic drilled into their heads and spend 16-20 hours a fay drawing almost every day aside from the occasional day they give themselves off every now and again.
> it must actually really suck when you stop to think about it, considering the amount of work they put into their art/stories they get an abysmal cut of the earnings and even super famous ones like kentaro miura basically spend their entire lives living like hermits inside their homes just for people to call you lazy when you ramp down production after basically dedicating more than half your life to a single story.

It's because it's ultimately a really unhealthy mode of existence. I know that we as artists often think about how good we'd be if we had the ability to just sit down for 20 hours straight, but the reality is that shit fucks you over both physically and mentally. Physical activity, posture changes, and socialization are all important elements of life, and Japanese society is a perfect example of how fucked up everything gets if no one is getting any of those things.

There are people like this in the west that exist, usually in the animation industry as storyboarders and the like. There are horror stories of people hurting themselves and breaking their hands / wrists in order to meet unhealthy deadlines. I'm 99.9% sure this shit happens to mangaka as well, and the only reasons why we don't hear about it are their culture of not complaining and the translation barrier.

There's a reason why once mangaka get big or famous the first thing a lot of them do is start taking a shit ton of breaks.

[Anonymous No.4893259]

Okay, I'm not really sure how to phrase this question, but

In composition, we have lines that lead the eye. The energy and flow of the composition is usually what makes it feel grand and magnificent. In big splash panels, we would use this principle. But in comics, is it possible that getting too carried away with this "leading the eye around the frame" stuff will lead to violation of flow? (flow between panel to panel)

Like, is it possible for this to disrupt the reading experience? Like what if some flow lines don't lead the eye from panel to panel, but fight against the reading experience. Does it actually cause conflict in the composition? Or do readers just automatically understand where to look next, overriding this compositional rule. I'm worried that individual panel compositions would fight against page compositions, but I'm also not sure if I'm just overthinking this

[Anonymous No.4893307]

>>4893258
as someone who works super slow and tries to push 8 hours everyday, whose already very socially isolated and getting back pain cause shitty posture for the entirety of my life

i would sacrifice even more if i could work longer and faster, fuck it dude my life sucks outside of drawing anyway

[Anonymous No.4893379]

>>4893259
Could you perhaps post an example of what you mean?

[Anonymous No.4893573]

>>4893237
However the fuck you want. Stylize mang.

>>4893259
I think "panel flow" and "composition flow" are both one and the same and also different in application. The former is used to lead you through a sequence of events, over a variable amount of time (sometimes it's seeing a bunch of stuff in a single point in time ie a collection of characters reacting, or a sequence of events over time) whereas the latter is used to lead you through a single image. Basically the difference between the two is that one is leading you through a series of drawings while the other is leading you through a single drawing. The two can work in tandem to benefit each other, such as a single large panel having a distinct eyegrabbing spot, such as a text bubble or a high-contrast area that overlaps or is tangential to a panel border that the panels lead you into.

I'll be bold and use my own one-shot submission as an example to hopefully illustrate. I don't think I did an especially good job in the right page so ignore that for now, but observe how the final panel of the right page lets the eye naturally drift into the bottom of the first panel on the left, which then leads up along the character to the high contrast speech bubbles, following along the top being drawn through the bubbles placed next to each other over to the left and down, then through the vertical panel of the character standing, catching the speech bubbles again into the middle panel, down the foreground character and along the arm into the final panel.
Now that's my intent, and the execution could probably be a lot better (I feel like it might not be intuitive enough, the eye is probably too easily caught on the middle panel for this to work as I'd intended...) but regardless of execution it's an example of how one might use the composition of the individual panels to work in tandem with the placement of panels and speech bubbles to create a flow both on the page as a whole and within each panel.

[Anonymous No.4893624]

>>4893573
Actually, I started analyzing some manga after I asked that question, and I realized that lots of mangaka don't bother with leading the eye from one panel to the next, they just let the reader jump from panel to panel.

This makes sense to me, since having the panel compositions lead the eye from panel to panel would lead to a lot of repetitive page compositions, and the flowing lines in a composition don't actually "lead the eye", rather the eye jumps from place to place, randomly. (I read that from Gurney's Imaginative realism)

Oh well, I think this simplifies things a lot. I think its best to think of comics like storyboarding or film, where you use the panel compositions and shot language to tell the story with clarity. Getting too fancy with page compositions can jerk a reader out of the story, I think. Panel flow is best done simply.

[Anonymous No.4893630]

>>4893624
Generally you want to mix it up. I didn't and wouldn't try what I was trying on that page every page. Ultimately it's just about keeping things interesting to the readers, everything is just a tool to be used for that purpose.

[Anonymous No.4893667]

>>4893573
when i do however the fuck i want it looks like shit

[Anonymous No.4893685]

>>4893667
How is us telling you how going to make any difference then? There are volumous examples to look at and learn from right now. All that stands between you and what you want is practice.
One piece of advice I think might help you though is NOT to try and draw eyes like they look IRL. When you're stylizing it's okay to deviate from reality. Simplify the eye into a symbol, then build on that symbol by applying fundamental art knowledge like perspective. Advisable to look at how light interacts with the surface of the eye though because lighting is one of those fundamental things that can help make a symbol believable.
Exhibit A: The eyes drawn as symbols with perspective applied, resulting in a stylized drawing with depth.

[Anonymous No.4893987]

>>4884925
I really like this design because of how evokative it is of Alice from Disney, while still feeling wholly original.

[Anonymous No.4894101]

Stupid question incoming: How long does it take to finish one page, from pencil to colors? And is it feasible to run two webcomics at once?

[Anonymous No.4894192]

>>4886418
No one will take you seriously unless your Japanese is N2 or N1 level. Happy studying.

[Anonymous No.4894383]

>>4894192
that's bollocks, there's a Brazilian guy who barely makes do and he basically does background shit

[Anonymous No.4894679]

>>4893624
>I realized that lots of mangaka don't bother with leading the eye from one panel to the next, they just let the reader jump from panel to panel.
Because they don't. Leading the eye of the viewer is a fetish of some western creators that spread to a small minority in the east as well. Traditionally manga didn't care about this as it copied the clear-cut, often uniform panels of older American and European comics.

Look at this guy: >>4893573
It sucks, I have no idea how it's even supposed to "lead my eye" and Toriyama in your post made his comic much easier to read by using extremely simple rectangles.

I'll repeat it: It's a fetish, mostly. There are authors who can do it well and then it looks nice, but it's not necessary. Compositions within single panels are far, far more important.

[Anonymous No.4894682]

this is a very noob question

but for large areas of ink, how can i make the ink look flat and untextured?
and should i stroke time in the same direction to improve how flat the blacks are?

[Anonymous No.4894754]

>>4894682
traditional? I use a paintbrush, there are some nice calligraphy brushes that could work also

[Anonymous No.4894755]

>>4894682
In traditional? You can use a brush and dip it in ink to minimize that. There will always be some texture tho, it’s never going to be crisp. You can stroke in the same direction, it’ll make the original look nicer, but it’s up to you.

[Anonymous No.4894802]

>>4894754
>>4894755
yes trad

alot of the manga i see has intense deep blacks with no texture at all
they scan the drawings then edit them on photoshop or whatever to remove the texture right?

[Anonymous No.4894826]

>>4894802
Yes it’s scanned and edited. You can google around and look at some photos of original manga pages. Some are really dirty, but look clean in print.

[Anonymous No.4894856]

>>4894802
The original artwork probably has all the texture that you're getting, just the actual printed manga doesn't because it's had the levels fucked with to be printed in monochrome.

[Anonymous No.4894893]

>>4894856
dunno i own some old manga that has poor tones or uses screens/ halftones, its how people get around stuff

[Anonymous No.4894899]

time to hunch over and ink in silence and kill my back

[Anonymous No.4894944]

Do people use the gpen to crosshatch?

[Anonymous No.4895013]

>>4894682
that's normally not something to worry about if you use the right type of ink

[Anonymous No.4895028]

>>4895013
i should stick to 1 ink right?
i use the daler indian ink, dries with a brush for the large areas and a fountain pen for the smaller stuff, i have a nib in fine

its drawing ink so it dries quick, maybe too quick
should i be using fountain pen ink instead?

also by using watercolour paper ive realised i can help the bleed and texturing alot :)

[Anonymous No.4895073]

>>4894944
You could but millipens are probably more practical.

[Anonymous No.4895103]

>>4895028
maybe your paper is the issue? also have you tried scanning it? maybe the texture won't show up after processing anyway.

[Anonymous No.4895109]

>>4895073
i had a feeling millipens were the way to go but i just had to make sure i wasnt completely off

[Anonymous No.4895483]

Holy shit designing characters is fun

[Anonymous No.4895490]

What paper do you guys use? What size? Does cardstock work for this?

[Anonymous No.4895538]

wtf this is the most helpful thread i've seen in all of my years on this basketweaving forum
unironically heartwarming, i'm gonna go draw now

[Anonymous No.4895553]

>>4895483
please teach me how, i cant really figure it out

[Anonymous No.4896329]

>>4895553
Copy & Remix.

[Anonymous No.4896572]

>>4895538
agree, MM general is best general

[Anonymous No.4896657]

>>4895553
Post your current designs anon, we can give you some tips.

[Anonymous No.4897278]

Holy shit, got too much trouble designing a cover for my first chapter
How does it look like, anons?

[Anonymous No.4897302]

>>4897278
Composition's pretty good. Adding a few background elements (abstract or not) to emphasize the flow would be nice. Obviously, the drawing could improve, but that'll come with time. Remember to constantly work on figure drawing

[Anonymous No.4897319]

>>4897278
I like the composition. Don’t care for the colors or the heavy digital look. I feel like the gradient in the back is too distracting. You could use better line weight to add impact.

[Anonymous No.4897332]

>>4876808
Since we're talking about manga here, you may want to check out the /asg/ thread here, & add it's links

>>4891860

[Anonymous No.4897645]

>>4894944
yes, you can do everything with the g-pen
but it's not that easy to learn

[Anonymous No.4897932]

Is intense cross-hatching possible/practical with digital inks? (like pic related). Mateu-Mestre in his drawing techniques book says that to make even cross-hatching digitally, you have to make a series of small lines on a separate layer and then use the transform tool to stretch out the lines.

[Anonymous No.4898004]

>>4897932
I don't see why not. Personally, I think that the whole "the lines MUST be even and straight" idea is only half true. Look at that image you used as an example, the lines aren't perfectly parallel or straight or evenly spaced. There's lots of little "mistakes" that weren't severe enough to warrant correcting, so they stayed in the final drawing and as a result give the hatching some life and character.
As someone who hatches a shitload in digital, I would say the key differences between trad inking and digital inking is just that it's too easy to zoom in and/or correct small mistakes in digital, so you kind of have to force yourself to not fix them. That and obviously real ink bleeds slightly on paper, resulting in those areas where the hatching sort of bleeds into itself in areas of thick hatching, which is an effect that's a bit harder to achieve digitally though still quite possible.
When inking digitally I think a big part of making it look good is choosing the right brush size. Too big or too small both look off.

[Anonymous No.4898041]

>>4898004
Not that anon. But what’s a good zoom rate for the hatching? I’ve read that if it looks good at 25% than it should do well for print too. That is, for a standard B4 manuscript paper for CSP.
https://tips.clip-studio.com/en-us/articles/2373
This link specifically. Also, do you use screen tablet or a regular tablet?

[Anonymous No.4898096]

>>4898041
Whatever you find comfortable, IMO. So long as you're not correcting the small mistakes then it doesn't reeeeally matter what size you're drawing at.

I use one of those $600 xp-pen screen tablet models. It's 'aight. Definitely noticed I can do stuff on a screen tablet I struggled with before (like drawing long, steady lines).

[Anonymous No.4898118]

>>4898096
Thanks. I guess it’s just a matter of practice. I’ll keep testing a few things out.

[Anonymous No.4898140]

>>4898118
It pays to mess with brush settings, too. Randomization and velocity settings particularly help make it feel less digital.

[Anonymous No.4898259]

Can you guys help me with the art/composition of this panel? It looks weird to me, but I don't know how to fix it. It's supposed to be a drawing of him kinda worn out from drawing his manga all day.

[Anonymous No.4898262]

>>4898259
Like, I think I'm mainly having problems with the lighting/values that I'm coloring the drawing in with.

[Anonymous No.4898269]

>>4898259
It’s a panel? Why not show us the border? It’s hard to think this being a square.
>>4898262
If you’re going for the manga look you’re overdoing the values/ tones. Use hatching and don’t avoid black for shadows.

[Anonymous No.4898302]

>>4898262
Needs more pure black. Needs more hatching.

[Anonymous No.4898350]

>>4898269
>>4898302
sorry, this is a full page. I'm doing comics that I could hopefully post on instagram.

also, I'm not really going for the classic manga look, I just wanted to coloring in my lines with flat colors. I rarely make finished work so all this stuff is making me go mad.

[Anonymous No.4898358]

>>4898350
>I'm not really going for the classic manga look
At that point why not just use color? I just don’t see it looking that nice if you stick with the flat colors. Unless you plan on shading it?

[Anonymous No.4898368]

>>4898358
This one of the first comics I'm doing, so I don't really know what I'm going for. I'm redoing the colors, trying to use pure blacks and screentones atm, but its all new to me. I might post a revised version later. I just, don't know my options

[Anonymous No.4898381]

>>4898368
Experimenting a bit won’t hurt. You don’t have to mimic the manga look, but that’s the kind of advice you’ll get in this thread. If you never plan on printing and it’s just an instagram thing than color is perfectly reasonable and might attract more clicks.

[Anonymous No.4898389]

>>4884925
what is this style called?

[Anonymous No.4898420]

>>4898350
Western comics euro and American also make heavy use of black and hatching. Euro comics tend to go more in the hatching route, and Americans love heavy shadow, but still. This is done intentionally for contrast. It’s not a Japanese thing. It’s a “make your art look good by creating focal points” thing.

[Anonymous No.4898422]

>>4898259
Comics about comic artists are garbo aside from that one manga

[Anonymous No.4898423]

>>4898420
I see, I'll try it out, thanks. I have Framed Ink and Framed Drawing techniques so I'll look more heavily into those, he seems to be really good at drawing with pure black and white.

>>4898381
true. But I also like the manga look so I'll try to learn it.

[Anonymous No.4898425]

>>4898422
idk about that. Besides, I was just doing a quick 10 page comic

[Anonymous No.4898432]

>>4898422
It’s like stories about writers, or films about wannabe film-director. Everyone think they’re super clever with it, but really it’s one of the most cliche and tired things to tell a story about, and rarely is it executed well.

[Anonymous No.4898434]

>>4898432
It's done by people who think they are a creator but have no ideas to create, so they just start writing about themselves and how hard it is to... create something

[Anonymous No.4898438]

>>4898434
> so they just start writing about themselves and how hard it is to... create something

Always found this kinda weird. Having ideas is super easy.

[Anonymous No.4898441]

>>4898438
That's the difference between creators and people who want to be seen as a creator

[Anonymous No.4898446]

>>4898438
>>4898441
This is something I always had a hard time understanding. I always see people say stuff like “how do I come up with ideas” in forums about writing and such, and for me the problem is the opposite. Ideas I have plenty. Too many in fact. I feel like I’m going to die of old age without being able to make all my ideas into something.

[Anonymous No.4898452]

>>4898446
> for me the problem is the opposite. Ideas I have plenty. Too many in fact. I feel like I’m going to die of old age without being able to make all my ideas into something.

Same exact thing here. It gives me anxiety sometimes; all I can really do to give myself the sense that I'll get everything out the door is fuse compatible ideas together into stronger ones or discard the weak and focus on my best.

[Anonymous No.4898453]

>>4898446
Same here, I have a dozen new ideas every day, it's sorting through them, picking out the best ones and working on them while not getting sidetracked by all the new ones along the way which is the hard part

[Anonymous No.4898456]

>>4898452
>>4898453
Looks like we’re all in the same boat as that’s exactly what I do as well.

[Anonymous No.4898697]

>>4898446
I only started learning to draw so I could get this story I have in my head since years on paper.
I just got to get a lot better first to make it look appealing.
Tried writing before aswell, but just couldn't get into it.

[Anonymous No.4899176]

>>4887809
>6 hours of sleep
Come on bro don't do this to yourself

[Anonymous No.4900500]

>>4898697
Post some of your art if you haven't already anon, I'm curious.

[Anonymous No.4900727]

>>4900500
Not worth it yet, I'm afraid. Only started like one year ago and only gotten serious a few months ago. I'm still learning stuff like perspective anatomy etc. so there is not too much to show. But ill post something when I feel ready.

[Anonymous No.4901316]

>>4899176
i know but im an idiot, my body forces itself up at 6am no matter what i do or no matter how late i sleep
i know i should just sleep earlier but my idiot brain just wants to stay up

[Anonymous No.4901710]

>>4887809
God damn, I wish I had this freedom. I have to juggle job and college.

[Anonymous No.4901723]

>>4876808
How many hours a day is it reccomendable to practice? I'm doing 2 hours monday and friday in art classes I entered and 3 on sunday on my own since tuesday to thursday I have class, and I've been juggling 2 jobs, which took also my saturdays.

[Anonymous No.4901729]

>>4901723
As much as you can dude. There is no limit.

[Anonymous No.4901736]

>>4901729
More like bare minimum. I wish I could practice more, I don't think I'm getting enough, but my schedule is pretty hectic.

[Anonymous No.4901739]

>>4901736
I mean, asking for a bare minimum

[Anonymous No.4901742]

>>4901739
Not that guy. But it also depends how you practice and what your end goal is. I wasted a lot of years just sketching around thinking I’m making progress.

[Anonymous No.4901763]

>>4901736
I would say at least an hour of focused practice. That's enough for some gesture + taking one of those gestures to inking to practice that.

[Anonymous No.4901778]

>>4901742
Same, nowadays my art classes are so I pay attention to axis and angles, copying from images before we move on to more complex things. I entered classes on the 12th.

>>4901763
I can do that, yeah... 20 mins gestures, 40 mins a more complex gesture up to inking. Like that?

[Anonymous No.4901799]

>>4901778
Ah, what kinds of things do they have you drawing? And since you posted here I’m assuming your end goal is to make sort of manga right? Do you do any writing or drafting?

[Anonymous No.4902469]

>>4876808
> "Manga in Theory and Practice: The Craft of Creating Manga"
Dumb question, but does anyone have the mega link to this? The one in the OP is just the AD script book

[Anonymous No.4902470]

>>4902469
https://mega.nz/folder/Dd4hnZTC#EjMIcTDPLbWXkAJLPHx2Kg

We should include this in the OP.

[Anonymous No.4902529]

>>4902470
Thanks for this link anon. Will do so on the next go-around.

[Anonymous No.4902533]

>>4897332
Linking MMG in the ASG thread and the ASG thread in the MMG thread might make for some good cross-pollination of resources.

[Anonymous No.4902551]

>>4901723
>>4901736

As >>4901742 says, "how much" is very much a function of the individual. Depending on your artistic goals and how you practice, different minimum amounts will be necessary. Some people, particularly those that are careful when it comes to the observation and thinking portions of drawing, can improve with very little practice. Those who are less careful or practice / critique / examine their work and the works of others with a less detail-oriented eye will improve more slowly.

Personally, I've always found that it's best to train the eye and "learn how to learn" before you think about drawing and improvement and so on. I've seen people do box practices for ages and get nowhere because they hadn't paid attention to the eye training that comes with it and just thought that they'd get better by drawing boxes. Similarly, you can technically train your eye all the time by just taking careful note of your surroundings and being mindful when you look around and notice various elements of how people move and how things look and change with perspective. The better your eye gets, the more mistakes you'll be able to perceive--and then correct--in your own art.

So, basically, you can practice outside of actually drawing by training your eye and being watchful and observant in your day-to-day life. And the greater your amount of eye training, the less "sit down and draw" practice you actually need. I know that sounds kinda BS-ish, but it worked for me, and I bet it can work for you too.

[Anonymous No.4902700]

I've been practicing making pages (haven't put the screentones yet), this a somenthing of doujin for me to get accostumed into making pages so i can get into my personal project.

With i'm getting pretty annoyed, is the linework too thin? i keep looking at it and the lines look really thin, but when making the pages i feel they are too thick, but the end result looks the total opposite. i'm getting confused

[Anonymous No.4902724]

>>4902700
There's no such thing as "too thin" or "too thick", it's really just about what you're going for and how you pull it off. What you have there looks fine, honestly. Could use line weight much more effectively though, as it is the uniformness is a bit... dull. You'll figure that out over time, though, and I think trying trying to overreach with varied line weight when you don't really know what you're doing can really hurt the clarity of a comic, so you're probably fine to stick with fairly uniform lines.

[Anonymous No.4902728]

>>4902724
so it's okay? huh, let's see how the end results goes.
i always had problem with line variety, when i started drawing manga my inspiration a Kiyo Qjo and her lines are super uniform and clean, and i stuck to it, since i used her work as an example for so long.

[Anonymous No.4902731]

>>4902700
The lines look too thin because the close up and midshot of him both use the same line weight. The close up should have thicker lines. I would also like to add that you should vary the line weights more so that he himself is more clear from the background, as well as make larger forms, like his clothes, more distinguished from smaller forms, like the detailing on the clothes.

[Anonymous No.4902735]

>>4902728
You certainly can stick with uniform lines. They're certainly best make for a clean and easy read, they're just not as dynamic and interesting to look at. At least, not on their own. Gotta remember that good comic art isn't necessarily the same thing as good art. Clarity and SPEED are crucial. I think it's better to not stress over the art once you've reached the point where a reader can tell whats happening, anything beyond that is just cream on the cake. Cream is important for a tasty cake, but it's not the most crucial element.

Anyway going by that page your art seems fine. It could use a better value range but you've already stated the page is unfinished. My advice: Keep doing what you're doing, figure out how to streamline it, make it as quickly and coherently as possible and just pump it out. You'll likely learn stuff like line weight as you go if you so desire, but you don't need to.

>>4902731
This guy's advice is quite sound.

[Anonymous No.4902747]

>>4902731
Oh, i actualy did made the close up and body drawing using the same linework. As soon as i finished the body i went straight to the close up and didn't put thought in line size diference, that's really something to consider. Thank you!

[Anonymous No.4902950]

>>4901799
Yesterday was hectic, replied just today.
Right now, reproducing pre-existing images to be able of keeping proportions and axis when redrawing at a bigger scale from reference.
You're right about my end goal.
I do! Actually, I entered the Tezuka contest after revisiting a story concept I wrote in 2017, and did drafting in May before it, but I'm not satisfied with the result. The page limit did got to me...

[Anonymous No.4903253]

falling asleep in my chair while drawing..

[Anonymous No.4903451]

>>4876808
sorry if this seems like a dumb question, but is there a site were I retain all the rights to my comic, characters, etc?

[Anonymous No.4903473]

>>4902470
A million thanks! I read it all morning

[Anonymous No.4903514]

>>4903451
Your own.

Other than that, most of them will have some provision in the rules that put all ownership in the hands of the website or give them first refusal on all IP licensing. Apparently the Canvas portion of Webtoon has a pretty generous agreement but I don't have it on-hand.

[Anonymous No.4903516]

>>4903514
What about pixiv or smack jeeves?

[Anonymous No.4903559]

>>4903514
how much does it cost to run a website and do you have any hosts you'd go with?

[Anonymous No.4903609]

>>4903253
toyotaro please

[Anonymous No.4903635]

>>4903451
The question is are you trying to monetize your comic? I believe Tapas and Webtoons are fine if you’re just looking for a place to upload. If you’re trying to get into their premium content than you’d get offered a contract that may or may not want your rights. There are plenty of creators who have their own website, but mirror their comic on both those sites (with a weekly upload delay). It really depends on what you’re looking for.

[Anonymous No.4903663]

>>4903635
Not OP, but i just checked webtoons, it looks horrible. How are there so many readers!?

Why would anyone read this nonsense

[Anonymous No.4903680]

>>4903663
I believe it’s popular in Korea. Webtoons is generally filled with teenage female readers. So romance or comedy does well on it. The phone format also makes it attractive to read when you have a minute or two. It’s not my preferred website at all, but it does bring an audience if that’s all you’re going for.

[Anonymous No.4903847]

>>4902700
Tangents everywhere

[Anonymous No.4903892]

Is there going to be a new thread? I need help making my comic, it would be nice have a thread to work on it

[Anonymous No.4903900]

>>4903892
Make it when this reaches page 10. And remember to put >>4902470 in the OP

[Anonymous No.4903904]

>>4903892
There will be once the thread gets a little further down in the pages as >>4903900 said (it's just because the thread will last a bit longer as-is still). I'll probably make it sooner than page 10 though so that I'm sure it won't drop off into the archives before I can post a link.

[Anonymous No.4903914]

>>4903904
https://archive.org/details/RobertMcKeeStorypdf/

could you add this link too? It's for Robert McKee's book "story", one of the best storywriting books there is.

[Anonymous No.4903928]

>>4903847
???

[Anonymous No.4903941]

>>4903914
Lets use these last few pages to plan out what we want in the new OP.

Linking the anime thread, since we’re more focused on manga rather than style, and linking the Japanese manga contests would both be good ideas as well.

[Anonymous No.4903969]

>>4903941
https://www.dailymotion.com/HabaneroScans/videos

Manben docs are fun too

[Anonymous No.4904082]

>>4876808
Was I supposed to read a lot of manga before making a manga?

Also what’s the difference between a comic and a manga?

[Anonymous No.4904096]

>>4904082
besides being flipped, there is quite the nuance in composition and action shots that is different from western comics. Do read some manga.

[Anonymous No.4904102]

>>4904082
would do you some good to read some manga, yeah

[Anonymous No.4904108]

>>4904082
KiShoTenKetsu

[Anonymous No.4904115]

>>4904102
>>4904096
Actually, I’ve never read western comics either just Calvin and Hobbes

What manga to read? I was going to make a silly over the top action manga.

[Anonymous No.4904126]

>>4904115
>Silly over the top action.
Definitely Kinnikuman.
>https://mangadex.org/title/3389/kinnikuman/chapters/8/
Although it might be a tad too crass at times, it gets really good around Chapter 33, "Secret of the B-block!" when it stops being a parody of Super hero drops and name dropping both Japanese and American names like Spider-Man, Superman, Ultraman and Kamen Rider and instead becomes a wrestling comedy, and it then becomes amazing.

Might want to read a few chapters and when the formula of "haha hero parody" becomes tad repetitive to go there and see how things turns around during the Chojin (Supermen) Olympics.

[Anonymous No.4904135]

>>4904126
By "Go to there" I meant "go to Chapter 33".

[Anonymous No.4904136]

>>4904082
If you're intentionally trying to make a manga-like work it's probably wise to understand the thing you're going for, yes. Read stuff, man.

[Anonymous No.4904142]

>>4904115
Just google "manga recommendations" or whatever. There's only so many translated works, and a lot are excellent. I'd recommend stuff like Kokou no Hito, Blame!, HxH, Fire Punch, Dragon Ball, etc. A lot of what makes these works exceptional probably isn't the kind of thing someone completely new to the medium might be conscious of though.

[Anonymous No.4904205]

>>4904126
Cool thanks man, i read a few chapters it’s got a classic silliness to it. I was also interested in artsy type manga.

>>4904136
>>4904142
I like muratas drawings, should i read one punch man? Or is it going to be way too long?

I want to practice drawing elaborate scenes, I’m not really good at story telling...

[Anonymous No.4904237]

>>4904205
If you think you might like something, then just read it.

[Anonymous No.4904375]

New thread.

>>4904367
>>4904367
>>4904367