TO DRAW .

THE SOCIETY FOR THE STUDY Of MRNGR TECHNIQUES

 TO DRAW

Compiling Application and Practice

 Table of Contents
The Aim of Volume 3 ............................................................................................ 6
For Whom Comics are Drawn................................................................................ 7

Chapter 1 - How to Draw Interiors and Exteriors .........................................25

Drawing Simple Objects .........................................................................................26
Putting C haracters into Scenes and Drawing Backgrounds ...............................28
A Word on Actual Living Spaces ........................................................................31
Drawing Buildings ..................................................................................................33
Background Checkpoints....................................................................................34
Drawing Backgrounds from Photographs ..........................................................~
Effective Management of Street Scenes.......................................................... 00.4~
Special Edition: Using Black.oo.oo ......... oo .... oo.oo······ ..·oo·oo·oo ......... oo ....... oo ................. oo42

Chapter 2 - How to Draw Machines ..... 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Drawing Machines ........................................ 000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . oo ................4L
Drawing Cars .......... 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 00 . . . . . . 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . <~>

Drawing Motorcycles ....................................................................................oo.oo.t.1

Drawing Colossal, Complex Machines ...................... 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . 00 . . . . . . . oo.s·
Drawing Your Own Original Machines .................................................................oo5:
More on Drawing Imaginary Machines oooooo ....... oo .... oo .. oooooooooooooooo 0000 . . . . . . . . . . . . . . . . . . . 5
Spattering ........ 00 . . . . . . . . . . . . . . . . . . . . . oo•·· .. 00 . . . . . . . . . . oo ....... ooooooo.
000 00. 00.00000 . . . . . . . . . . . . . . . . . . . . . . . . . 006

Chapter 3 - How to Draw Nature and Animals ..............................................f

Expressing Natural Objects ....................... oooo• .................................. 00 . . . . . . . . . . oooooooo.f
Expressing Trees and Grass .......... 00 . . . . . . . . . . . . . . 00 . . . 0 0 0 0 . 0 0 00 . . 0 0 0 0 . . oo .. 00 00 0 0 0 0 00 . . . . . . . . . . . . . . . . .e
Expressing Rocks and Boulders .........................................................oo ... oo· .......:

4
 Expressing Oceans .............................................................................................71
Expressing Water .........................................................·.......................................73
Expressing Clouds ..............................................................................................75
Expressing Fire and Smoke ................................................................................76
Expressing Explosions ........................................................................................78
Drawing Animals .....................................................................................................80
Expressing Animals .............................................................................................80
Drawing Imaginary Animals ...................................................................................85
Special Edttion: Using White ..................................................................................88
Arranging Natural Objects anc:l Effects ...........................................................,..... 90

Chapter 4 - How to Create a Short Story Manga ..........................................91

Creating a Short Story Mangat ...............................................................................91
limiting the Number of Characters .....................................................................94
p Short Story Themes- Keeping it Simple ................................ ............................99
Drawing an Original Work .................................................................................100
~ Allotting Pages from the Script to the Manga .................................................. 102
14 Getting the Right Number of Pages.................................................................. 103
4 Fundamental Frame Rules ................................................................................104

8 Giving Characters Life ..........................................................................................108

1 Moving Characters on the Page .......................................................................108
4 Balancing the Composition ...............................................................................112
p8 Frame Structure in a Spreacl Layout ...............................................................114
~3 Highlight Scenes ...............................................................................................116
Getting the Story Rolling ...................................................................................117

65
66 Advice on Drawing Pages for Submission to Publishers ...................................118
66 Methods to Becoming a Man,ga Artist.. ..............................................................120

.70

5
 The Aim of Volume Th
Everyone knows that the best way to improve your drawing ability is
to copy your favorite manga; however, without intentionally studying
and understanding the ins-and-outs of manga and just frantically
drawing pages on end as your method of study, you will make slow
progress. This book is a technique book like no other, systematically
designed to power-up your manga at an incredible speed by
thoroughly introducing the secrets, winning tricks of the trade and
essentials of drawing manga.

Just because you have studied the fundamentals n "How to Draw

MANGA: Volumes 1 and 2", it does not mean you have reached the
end of the road in the 'way of manga'. This book teaches how to
apply and practice these fundamentals when creating your own
manga.

Regardless of your sex or age, from beginners who've just said to

themselves, "Maybe I should try drawing manga," to those of you
who have been studying manga for a long while now but have not
made much progress and pros alike, for all of you, this book comes
highly recommended.

Nott: Worlcs relereoced In trill book 1\l,. blllrl rec100IOd 1o 100< llkAI lhe 011Qina1os best as POOSible; hOWIM!f. rue to 111oleck oiiiJ<IOO. 11 "'""' OJ,..
· -,_ IIIMit\ llfomlt reru:oo rn 11.111. Fell U1her lllDf olnue ~ cJet*. ~ IOCOitOJ'"Id 16Mrng ID the -...1<1 as published In ""'' orlglrtil
torms

6
Hole ; The MANGA from P.7 to P.23 in this book are In their original layouL Please read from right to left.

Written and Drawn by

Takehiko Matsumoto

All the manga characters

that appear in this book
are fictions. No Identification
with actual persons is
intended or should be
inferred.
 It's not too
bad but ...

I expected as much to get

a pretty hard-core opinion
of my work but. .. Jes,
what a shock! I didn't
think 1 was That bad.

It's hard to
my finger on

G1.1~this is
wl1ot to e•poct
the fir<st time
show your work
to a publisher.
All right! I' II I" II just have to
try harder.
show them
next time!!
 Bang!

No~ No!! No!!!

I can't
draw!!

I wanna read
a cool stOI)'.

9
 About a funny gvy!
You know with gags.
Something
Yeah. gags .•. that's
REALLY
the t/cke/1
cute/1

With a
storyline, ......... 1
knock your
socks off/!!

You gotta
have fokesl
Wh -who's Keep'em
there? laughing!!

Yaknow,
a hero story.

I
~

Finally
listening are
you?

10
 THAT is t~e
voice of tile
READERS...
they all LOVE
reading mangal

l/
 It's not that

Well I came all

Didn't I just tell the way here so
you what the GET drawing!!
readers want?!?

12
 -::.-·

And you still

I've racked can't draw•..
my brain on
how to
make it

But When I
put it down And
on the page, Wo1ndered 1'----"
It's just...

It's hard to
put my finger
on it...

Hey... can you

show me your
rough draft?

13
 -
'II~ if

I think I
know your
The reason problem.
you can't
draw Is...

In a
word ...

/
Boring.
/;
You're not
having fun.

14
 Yeah right!
Okay I'm a
Nooo! boring guy.
That's not it! Of course ...

The
problem
are not is .•.
illvir1n fun drawing,
how do you
you can
others?

Did you have

loads of fun
drawing that?
Was it a good
time?
 You're right. All I was thinking
Manga
about was really showing the
Is publisher and becoming a pro
the creator pouring his
about. .. at all costs.
l'leart out on th& page
M'ith pictums a11d a
sc\Ql!lio. That's it.
'If

Well,
that's Think about
really things like, "'I
the hard Or how about
n lhe charao~
But the could do thist
something unexpected
pros face like this. lr you l~lnk that here, ~~~
the same like that. yOY'II It be groat or I
had a charecl
hardships. have fun .
like this 'N'Ot.Ct
it be cool."

And then take

thai foefong ol
enjoymeflt
and I>OUf ft on
totl>ep- as
you draw.
The tension In my Thanks
shouldens seems to little lady!
be gone. I feel like I'll
be able to enjoy
myself when I draw.

So how So hang
about a little tough!
celebration
as my way
of saying
thanks!!

I will.

I hear
that!

17
 Guft"..s I'll
be going.

Sometimes
you have to You're not
gonna stay
while I 1\!
draw? .}

Whaaall
I thought you
guys showed Do It for
up in pinch yourself!!
situations.
You know,
deadlines and
slumps.

Oh that's a lie.
Everybody
wor!ls at ill It
you're gonna
bee pro, gel
used to it.

18
 r') ~ Wha!
I'll be waiting.

""-"'
 H ...u ...h...

•
T'-6r$ ..~.~
•

~<;
• Guess I'll

I
wash my
•
face ...

There's a
little marl<
from lip sijck
end some
beer inside!?

20
 All right then
little lady!/

First things
first. I'll start
having fun
with it.

From that time,

about a year later,
he successfully
joined the ranks of
the pros but ...

just because he was

a pro doesn't mean
he was making a
living.
He had other, various
difficulties. But that's
another story ..•

21
 How did you
enjoy the
And I am his show?
assistant. Alow me to
Suika. introduce
myself. I'm
manga artist ,
Egaki.

Today's episode was

a reenactment of
something that
happened to me ten
year.; ago. What do
you think? Pretty
You've
good huh?
gotta be
joking!!
 We Interrupt this
broadcast to bring
you the news ...

BANG•
(IJ~ ~ ~"
~i.i~~l

--
Moving right
along ... "How to
DrawMANGA
Volume 3" is
~d me. See you brought to you
at the end.
by this little lady,
that old man

Well, looks like Sensei, do

this could go you have
any thing
on forever, so to add?
let's get back
to the main
event.

23
24
/
Try drawing a centerline for bisymmelrical objects.
As an example, try drawing a glass.
e First. simply give it shape. e Next, Ond and sellhe
centerline.

~
~!!
\'--- '

I ·~.
"t.
C) (!)
-'
• Look at the centerline and 8 It things aren't going so
while paying attention to the well, try drawing a box of
bisY111metrical balance, tldy up perspective lines and
the shape. retliink the wor1< from there
J! '

~ ,
~
...-: II\
-

'
'

\~;~.
-· I
~- y ~
0 For reflections, extend the
011 you can't draw ellipses well, and if it is an ellipse viewed box of perspective lines
frof]l tl1e front, one method is to draw a cross in a trapezoid and think from there.
and then connect tile points forming a diamond shape and
I
use that as a~yardsllckfor drawing tile ellipse~se this area as a

17
v •, l

,1I------....:::::"'i·::.....-----"
" " -\
yardstick to tidy UP -c
' vX r\
1\-.. ~ .

the shape of the / IV

ellipse, '
t\ \, I
- ~ >I./I
I

'
~ J
Note that the '
method of thinking 'I I
changes when
~=-...::::::--..:::::..joo:::::~=--=.:...o. viewed from a
diagonal angle '~ .....
26 -see dotted line.
./
I
 I One~ the outline is complete, do it In pen. Give shape to G The key point in this drawing Is probably the tone
areas that do not need to be inked with a blue pencif and management in the reflection. The first point of
later use that as a yardstick for attaching tones. caution is to attach a dark, deep in color tone
before all else.

t) Next, once a light, pale

tone is added on top of
the dark, deep tone, etch
at a point slightly off tile
Attaching a
re. border and line it up with
l~lll. pale lllne
the border of the first
liefQre all else
to11e.
turns the area
blac~ when a
da.'il, deep tone
Is layered and
rnakes it
I ~iffi~ult tQ see
lltlere to use a
cutter.

t M and remove the

e1Cile\i, l!'illlSpartmt area,
..•··· ··················•··••·················· ··· ·····..•
••
Ad~ing expressions of
f!ihl using while or
elchihg can complete ; Fundamentally. drawn
: to show the
llle work.
; l:lisymmetrtcal balance.
: Their use can be
; extended to cases
; using human figures
: and showing the .. •
...
; bis>onmetrical area of
; objects and spaces. •

..•
.
.................................... ...................
 Puttin9 Characters il)tq:5cenesti ::.r:mig_
~"3.\J~ifl.t~ft:it and Drawing Ba,f<grounds .. . ·
When putting characters Into scenes and drawing backgrounds, put the principle of placing the character
Inside a perspective Into practlco.

First, give Next, creal

shape to tho "j~:;:.~~:.,-Jf- l the box
area ol the ' space of
space, area your
and the siles characlet

~;::rJ character
Draw tile
of the
!- box ina
you want to freehand
draw. style w11il~
lool<ing at
'T",_-.- 1the overall
balance.

Using the bot,l

ll1e 'eye-level'
(horizontal fl~
and vanishing
points.

-
28
 Alter pv!tlng
tho perspective the unseen
lines that will areas too
mi!l<e up llle when thinking
basics. draw abaut the
as il you 11>1l!Himensiooal
are placing form of objecls.
obj9Cis ioiD
111e soene
ualnD those
lines as a
yardstick whllo
wnea~O(I
llllnldng about
tor rhlnkb1g
me size of Jhe
ei)C\If '""
charaetet. p0$111ona
rclatiaoship
al tho
tolevision and
i1s- croracter.

When you have Wilen you

' want to
added too
many llhes or keeplhe
necessary
are unable to
see necessary lines ln tact
lines, tidy up and er'8~
by erasing unneeded
unneeded llnes. lines, cover
the necessary
', Js;rg J pen t)~ lines with
e ~s-
a piece ol
wnvenlenl •o1 paper end
sma J. !.leJk:::~te go aver too
ateJs, area wi111 aJ1
eraser.

~~~~~~~~~~~~il~~~J~~~r~~~ij;jijl bac~ground,
~ Afle<fl'eehandlng
the
tidY up the
vMislling points
wi111 ~ ruler and
llni~h outlining.
~.set
el'
lines)
log

29
Next, do ·111e inking. The basics or pen lnkfng the lfnas
tll<l1maJ<e ~P the shape are to draw lhe outer outlines
on the thick side and the inner lines on the thin side.
----
900d exampl(l
ComlJiete lhe work, adding peninklng.
lha kl!y point~ere rs b11; area~ dlawu in bllr.X.III ar.tditit~l. usc
1Jia01 lor shadows and 111B l~e. Keep It\ mlti<J that you aro
<t<;tually ttmwlng tne space and not merP.IV flllltl!J In II~ shotiOI'I.
30
Be careful not Ill draw 111e same kind or
monotonic lines.
bad example
Dea. wrth the books al1d other fnmgs In ltle bookshelf
usng a tino•pOint pen giving the oojects an actuallii<en\flll.
II isli<Jod ilea to show the lich~ess ot !he lifl9s il'J
11a1KIIing lho details lii<B in ltlo !tbove lllustmtion. View a
var.ety or urawitll)s and lry resewching on )!OUr t1>Vn.
Adding tones lllll!l!ll"T'"l As a basic rule,
finishes o!llha thlnk of
work. The key =--·4!1 perspective
point here Is tho from the
shadows added character's
by the tones. point ofvlew
Since shadows and then
have light and l.!;~.trtl consider
dar!< colors In backgrounds
them, pay using the same
attention to their rule tor exterior
usage. scenes.

A Word on Actual
Living Spaces
Up tlll now we have
advaoced up throli!Jh
the basics of using
one or two vanishing
points; however, in
actual living spaces
tnere are numerous
vanishing points and
taking these from an
eye-1~ve1 woul.d tat<e
a long, long time.
In addltioq, Ute
tharaoter itself is not
illways just standing
still. When there is a
Jot of action, you
can't line up U1e
background
perspective with the
same dll'l!ction of the
characters.

31
So what do you do?
Really the only
thing to say is to
set things up so
they don't look
strange. We'll start
with Lesson 1.
First, in the middle
of a piece of white
paper, consider the
space of the walls,
the ground and the
noor.

For Lesson 2, Keeo•ng those

images rn m1nd,
consider various
fillln the w!Hte
angles of the space by 1maging
objects and the space and
character when copying the
viewed from a images Into il.
television screen
or the four-sided
images as seen
through a camera
viewfinder.

At first, you mtghl not be able tc maglne objects that 'f'.>

sse every day. our hang in 1here and keep orsWtng

While perspective i s an
Important concept. 1t's
not li~e you are
drawi1g blueprints or
anything so set a
hlghe• value on whot
lool<s goods as
opposed to whet Is

32
1~~~~~~~~~~~~~~:}~~~~~;-~Mdin~e
aL
J getting the
~I 1
outlines

..., 1 perspective
I from the
main
building.

33
Background Checkpoints

Depending on ttle angle that

obJects are viewed from, In some
cases they can look unstable.

As a simple example, lake a look

at the Illustration of ttle building
on ttle right You can see that even
If the perspective is correct, ttle
building ends up looking flat,
without any three-dimensional
form. In order to bring about a
sense of stability, you need to
create cubic angles like in the
drawings below.

An easy, effoctt,e methtld o urlng out the three-a nw 1slo!lal

1o1mand give stab Iii)' to the draw.nq I~ to a~pty a tons
g1v1ng the sloe a sna•!Ow eftea
A set-up wi1h a feeling of
stability is not only for
buildings but can be
applied to living spaces as
well.
34
Optical Illusions exist in human
eyesight For example, in SOOll
cases, even though the
perspective of the items drawn
on the floor Is correct, they lool
slanted. In cases like this, ttllnk
of the angle and try searchingt
a set-up with a feeling of stab!
ttlat 'looks good to your eye'.
 Even if you make
use and draw
stable angles, when
a full-sized building
QJ OJ ts viewed, lhe
unstable areas tend
to stick out
OJ [!]
/
~llhS case
11\e bounc:laly betweer'l ttte
pro md the house 1oo1<s strange.

msttrubs,
flnces and the
lb 10 skillfully
dit8t !lie
~ing,
DO
Cheating difficult
ID draw or ' I

IIIISiabla areas
ulso part of
JQUr technique.

Consider the thickness

at objects.
Mr example, the frame
rlthe windows and the
llecan be drawn
mnaJiy If It is a large
SJmd drawing; however,
IIIII smaii drawings, ::::::;;:::::::::~~;:::=~
II majority of people
.. not be conscious of
wn llsbllckness and the
look R'Nt11g will look flat. If
hinK Ill not too extremely
lng 101 nU think of adding
Adding thickness with a pen relates
tabllitt Did< Ill the sides to thinking about shadows. By
e'. llhere you want to give applying thas, even 1n th 1n outlined
drawings, a stable draw.ng can be
t !Ome thickness and done with the assostance of the
M!e-dlmensionality. Ado thickness to bricks. block shadow.
walls, tiles and the like.
35
 CtlrlSICWI~i~k(b~lc.tenG€1 OfWAitlli
r - -- -- - -- --, If ltte .It~
Walls are easy when new.dr.o
depicted on buildings; IWlke U(
however, when the too dtr\1>
this cas&~
background of a scene take 'iJtlli
in most homes and by USIOJ
tones' to
rooms ends up being add
just a wall, steps need
to be taken to make it
look dirty if the wall is
old.

TM fee<~g ¢1 $llblilSI<JOCa Cl)affJE<> \\!tell

sh:-o..··ws are oM present a"!o when thc'f arc.

c::-rr;o;;-:::..,;7-- - - - - , Whe11 !ISing •lf(>(.1

"f.~~~~'?~~-----j
r~
line~ to •~e3te
shadrr.vs, ir lhH
lines are too
rV>;;~~~••~~· \ :.~ l l!u l!gt•t ·a.frJ da1k11~m:;.
~~ rrfemr.T lr rooins t:x, lltick, tt1eir
Cltl!Xl! h.fr r.J u oltla ~a. sut.stster.cB tends
to sgck OtJt.
creatifl!l obtrusrro
!.'IIUdGWS that end
up makhg the
(iraVIInQ look dir~t

While $'latltl'ils
are usao tor
expressirog a
feeling rA Shadow
&Jbsister><:e theV Applications
ar•j not lmeniled In some cases,
lo be obtrusJv~. shadows aro
orodmed r.c., lr,"'l.fit.C~t:
Willt thiS in mind.
dmw Sha'fl lines li[lllltu dark
3:. !hill ns
VOSSible,

light
,, ' ..
1'!,

AtJ,timanagt::tncnt lines-In the 5hl'ldm\' aro.M lVIY.fl dmWlf!!J

aM tile Uh~ ancl gmf1ate rovmn1 the 1~m

36
Depending on the
nnsparern:y and the
rtlalionshfp of the
IW!gle and the lig!lt,
•can end up
lool<lng like a mirror.
.hat try to take action
~make it look like
~s wlthllut thinking
too much abllut it.

>S to show tt1e sky on glass at midday. Conversely. at

night, the 'nside of the rooms can be eastly seen.

1..:so ef'ective lo show the character reflected Addlng a shadow ma1<es What is •nslde me glass
Qt:t9S ltlO addiOQ light with Wllte. VISible
, . iJe tc.y PoJ·nt- fly 1tr~
~methods ----~"::_~ '",. ~
lf >9l1ft9lt'1IT these
I .AII;>rg 800 thG
~~~;;;;;;;t::r Clas£•fY'I'9 )'OUr
wt1e1 m hnd ski!My
manage(! backgroonds In
••tr. wuy to not;; books Into
vOlumes like manga n!<lgazJncs Dnd the
"wove ts to tty l;ke,lr Is n gooo ldoa to
NJture settln~. collect them h1 a SLYopbook
II,Utllg ~kllll\.illy bulldmgs ami for your own rAIArtlfiCO whon
":a9Bd Yal1(1us affects Is )IO'u draw.
e&- ~rt>unoo. ;tl:;o a good toea.

T~ng action by addtng effect

~nes for ligi]t also works.

37
Drawing Backgrounds from Photographs

An easy way to draw backgrounds from

photographs is to use a light box; however, for
those of you who want to really improve, we
recommend nottaklng the easy way out and
really improvin,g your visual power by drawing
from photographs.

First, g•ve some shape to the main buildings. Draw the surrouPdings pay>ng attention to 1119
perspective lines using tt1s main buildings as a
yardstick.

Ir-~:::i:c.:::::.:----:!1~~~~-[~~~~ Once you've finished

the basic design, tidY
up with pefspectlve
lines and outlines wltl>
a ruler.

38
·osh Vie work by altaohing ;ones. Try not to t.hllll< too much abovt all the details and handle
lr\i 1"/'. f!iVIng the things JlJSI enough resemblance to make them look real enough.

finished work'

39
Effective Management of Street Scenes

At first, it is important to try and

copy the scene as you see It;
however, when you reach a point
where you can draw well enough,
it is time to consider effective
management methods, and draw
backgrounds where they belong
in the background. Even when a
photograph is used for reference,
there is no need to completely draw
every tittle detail. Wl!at is foremost is
to give the draWing the atmosphere
of a street scene.

INhen characters appear enlarged in thfl fore;vound. the need to draw detailed bacKgrounds
ts dmn•shed. Compositionally by adding sornstlmg lo the foreground, the dep\h of 1he
drawing is brought out. Gradate tne ouilding in the bacK 10 'look like' buildings.

Drawing lette•s and !he lil\e 111 slreet St~ne.~

in complete oetails Is line but oct ne,oessary.
H1ese can be nan!lmU b)> uradatinu tllem for
rasel>.hlqrn;e.
If d <awtng mat1ga wae
exempt any kino
factor. then drawing
extremely detailed
would be goOd; hrw"~"'
the reality rs that. a
level of quality must tt
ach1evect ;n a s11ort Pfl'
of t.me. So what do ~"'
need In order to 6raw
take vour penand draw
viith whrte. Of course, genlng
drawing fast iS ••~•,nr.a

40
.',\Jtf d<ovmg C'ataJ~ ouildings by making use of crowo scenes. Draw several c11arae1ers well 1n the
"'fl~:<Jtu,l ~161'1 ~~ hou0t te <'~d gradate the area tEihind ;hem.

)PJI<, Withottl
~~~ I(Jo 'lltJCh
~WIIIij,l~f)
I~.Jl!IESome are;os
·.ll~ be c.wered
lllll•tJJt lliSkirg
fa <li:JWinQ look
lw y::o ·:ut tao
I!'I"V ~Crllo'~'HlS
w.~ 1t11l1e
·i<vJe ~rawing

Vlhon all U1e n.umao~ in a crown scare are done as~ilnousnss nsMws effective management just by makln9 a
iew tlf themlo!JII nke a l lt.e humans nt~ trcatm;;mg!Vos an tmjll'csston that you did not cut any corns~
r~P. .- If\
a~ apply
- at.>!lnl0~1
<dlnlqves
, __. dorn took
'!I cviYJil>
~~bsen"Cu~
" In ti"'
.lt.•.dted
"10~8
.....~nnu ., the
~"Ia

Wllilt snet•es r.an be hantiiP.d fJy sklllflllly U3ftt0 hlack ~r-tf SllitOucttcs. ll<e tong and shor. or vistJaldirocfion
of r.ig"t scenes is ro add white tor light making Ute re_~t reoemnl~ ttiUhl

41
The black is done at 100% darkness in
opposition to the numbers 61 and 62
amitoons (net tones) containing a
respective darkness of 10% and 20%.
By skillfully using the black, sometimes
the drawing can be 'sped up' or a sense
of power or weightiness can be
achieved. This is a strong ally in
creating manga.

Sometimes try looking a1 a black-and-

white photograph coloring in the black
areas or try studying how black Is used
in various works.
Basically, tile logic here Is to use black for strong,
conlrasting shadows.

Try ustng black in human

figure shaaows too.
0 Enil</Q F~tusy/ ~LIJCK'f R.A.KUUN"

the g.Jy$

Sometimes 1ry using black ror visual direction.

tl E•lix/G Farua!'lt/ '1 UOKY'AAI<JJUN"

Handling lhe
background
with black is
one metttod
of direction
too.

42
 Chapter 2
How to Draw Machines
No matter what the model
of the car, the
fundamental shape can
be formed from a box.

First, roughly give

shape to the overall
balance with a box.

Combine tt1s perspective

taking into conslderaUon
the unseen areas.

Unes that arrange the

Once you've got a position of the side view
yardstick, tidy up the work
giving it proper form.

Since the fiOnt part 1s like a human

race, go for something Gt,aracteris1ic.
Draw the centerline. and look al lll
44 balance on the ngh1 and telt.
 Whl!ll drawing cars, the Drawing A
most difficult thing is
probably the tires.
The most common mistake
Is wMn viewed diagonally
!rom the 1op to the bottom
dustrated on the left.
The peak of the ellipse is
lined up along with
llie perspective.

When the ellipse is viewed from the

front even if you changed the angle
lhe side •iiewed from abGvc from the top to the bottom, this
method worl<s fine.

l:r.w·;ll'; in drawing A,
&~er~pective ends up U>e top
:fin~ strM9'! and of the
eilip$e
;1'93!! eo. So •Nhat do
~~· do'l Consider the
llC tnat there is
, lice thm rests on lhe
ry.cn&and a side that
t211 oo 11ewed from
<m'o'f..

the side resting on the ground This means that the·top of the
ellipse occurring at a diagonal
angle is correct.

m& tl:ll or1tlc ellipso

Another way of
looking at this is vanishing point
illustrated in the This same method
drawing on the for tires can be
left. applied to all
ellipses when
viewing diagonally
from an angle.

front side diagonal

atthtl example: k~cherr dishes, etc.
45
 ..
Ink with a pen. Pay attention to
applying black to the drawing.

Draw iires using a template.

Then draw the lines again.

Add tones and light to complete the work.

gradatJOna
lhe tllin sO;

Add109 !JSI a slight

reflection makes it
look real. double layered
sand-eye tones double layered gradatJorl
46 Gradation on the thin side is
used t11roughou1.
 Consider 1/le overall
' extra
structure of the position of
· on to tho fundamental items like the
t 1\illdshleld tires, doors, etc., in addition
IFCIIC()l.
to just the car itself.

- ~ s qule a lhl1 area.

Pay a1lention to lhe size of the car

in oornparison with the person.

47
Drawing Motorcycles

First, consider1he design and roughly

give It shape. Then think about the
rough outline of the parts and add In
the areas that can act as yardstick
first.

finished work

('

Cons1der roughly
putting together
lndopendent parts.

0 If the perspect1ve Is difficult to de1erm,ne, one method IS to add

perspectiVe lines in the 1Jeg1nr1ing.
48
 draw the more
,fllailed nems while
at the parts
as a yardstick.

0 Think of the motorcycle tires as car tires,

14bLIII~\I all 1he mechanical

'llOtorcyctes and the like
cndertaking. 1-landle them
black in the shadowed

gooa idea to get In the llabit

I.I••Y.k<~a at t"e comparison ol
to motorcycles and
)1!::1!1VCies In motion.
~~

e As for tones, the ;ires

were layered wlt11 both
sand-eye and gradation
tones . Ove<all, the main
parts of the motorcycle
are done With 1hin
gradation tones.
49
Sometimes It may be diHicult to gather
reference material for things you want to
draw. At times Oke this, make the best of
what you have making the drawing look
enough like the original object.
/

The wOO< Is complete when tones are

0 For example. take tnls military hellcopl

The method here 1s to roughly giVe !
shape, use black for the detailed llf6fl.
nandte the shadows and skflllutty '0'1811
the drawing.

50
 Drawing Colossal, Complex Machines

For example, take

IllS aircraft carrier.
As with drawing
IIIOillrcycles, the
method Is the same.
Consider the sections
as rough blocks and
draw the parts that
can act as a

using photographs
b'reterence, you ~~~~
IIW oolice that the ''
•ent parts are
Jetty promiscuous
IIIII areal ~\ I
llllertaking to draw. _,_ ~~~~r k
«fOU have to draw
mlhanone
lfrcratl carrier then it
tlhat much harder. ....
---- - /
- t
------------------------1 1
tat.

s,

51
 8 finished wor1<

52
- • The method here is to abbreviate the
parts without destroying the overall
atmosphere, or silhouette the detailed
areas with black and make it look as real
as possible without going overboard.

53
 One method to improve drawing machines is to try drawing machines from your
imagination. In order to draw objects from your imagination from vartous angles, you need
a complete understanding of the structure of the machines. The diHerences of when you
considered unseen areas and perspective lines and when you didn't the diHerences will
show up In the sense of stability and overall merit ot your drawing.

A1 that point, you w•ll nolice again it Is Important to put in lr•e unseen areas ,;~nd perspective lines.

In addition, if you understand the mechanisms behind your own drawings then you will be
able to draw them freely. With that said, it could also be said that If you understand the
mechanisms behind someone else's drawings then you can draw them freely too.

l 54
 It is often said that

1
I
I
drawing an Imaginary
object with a sense of
reality requires a great
deal of design
strength; however, as
long as the space on
the page looks like it
should, all you need to
do then Is consider
the centerllnes,
I
perspective lines and
unseen areas. In
addition, if you think
about the
management effects,
you will be able to
draw all sorts of
definite objects.

1 i
~

55
 A round peo Is
added here.

this is to draw
the stre<imlinc~
freehanded.

Wnrle people ac-.customed to drawing rocks and boulders tend to

do (he ou!line in oen. 1or 1hose of you new to this and for general
prl!ctice. do the inking arter properly outlining 1n pencil.

W•th your elbow in a fixed posltl:lt,

powerfully draw the center axi~
Finally attach
The etc~ing In the drawing on i he tones
111e •lgnillke the d!'llWiiiU fin•sl~ng off
ab!Jva vms etched in a stroking
••l'
1M1111"' vAihout qpplylng
force ttl tile cutter.
10% am~oon (net ·tone)
theWO!k.

First, consider the oVP.ral

rough shape. You rcn•'h"'
Change tile Mgle at Will [
your head. Next, With the
rough shape, if yov
detailed acce~-sories ~no
view several reference
photographs. you can
What you want at Will.
poslllon,
!IJ<IS.
 More on Drawing Imaginary Ma.chines J

Try drawing a more

advanced machine.
First, give shape to the
forms deciding on your
composition.

As for angles try a low

angle, which makes
visual direction of
colossal, powerful, and
domineering sensations
easier. By arranging the
composition a bit on the
slanted side, a slightly
larger drawing can be
produced.

'
/ By slanting the drawing,
a larger area of space
can be occupiecr.

When viewing large frames

up close, rt is a little Hmmmm.
difficult to tell if the design
Is off or not. By looklng at
the page many times from
a distance. it is easier to
understand the overall
layout and you can check
your work. Finally, turn t11e
page over, hold i1 to the
ligt1l and view it

58
 lwe've said it once,
we'Vll said it one
~rad times, when i
•
&ling outlines, soundly
Wnk out the unseen
lf!IIS. With complex
objects., If there are too
many lines in the
OUUined drawing ma~tingl
e~-erylhing black, first, Wilen you have
pfa£e a piece of thin a~Wecl too ""'""
lines, go ewer
lr.ICinQ paper over the· U1em with an
page. Then, draw the tidying up
WOfl<space.
unseen areas separately
on the tracing paper.
Next, place the tracing
paper under the page
and using a light box
l!i!Ce the seen areas. II
you don't have a light
liox, you can draw with
ablue pencil.

I
•\ •
!

~-~/;he trac;ng paoer over the picture and Then, place the tracing paper under the
lt:N tna unseen areas. picture and draw only the areas that are
vis;ble as seen through the light box.

59
For little items
liKe tn the I
drawing on
the righl
' ,,

I· '
I

e Set up the area that While aligning thl>

will act as a yardstick. perspective, set
centerflne and the
unseen area.
0 Next.
consider the
lines that will No matler how easy
give shape i1em mav seem, be
to the three- and soundly think ll
dlmenstonal through. TI1e flow of
figure. kind of drawing •.an be
applied lo most
materials.

8 Tidy up the shape an::l

finish off with outlining.
Thor~,pen inlhe•nktng
and add black. Tile pens
used hare are: a G-pen ior
the machine and a round
pen tor the buildings.
The key point here Is the
desttoyed sections or the
building.

In order lo draw realistic

uestructlon sc~es. Ills
necessary to know
something about the
structure of the dQstroyed
objects and consider What
kind of reaction will occur
when a certain toroe Is
applied.

60
•

e Vsing a Letraset 6 1 tone and the like, the second lone page, attach il in
anached one page of a 10% deep tone each ot the independent parts.
oy thinking or each cloud as fndepandent
from rt\e others. Outline them witl1 a blue
pencil and etch in detail with the tlat pan
of a cutter.

0 Do a layering eflecr with the thtrd tone

page. 61
 Handling Transparent Areas

0 After attaching the tones, dr~w ltla ir111EJ( out11n1ng with

white.

e Next. attach a white tone to complete the wor1<

62
 Spattering
t A~« attaching the tone. put
"'" ll'>ishing touch9s on the
,"'JJk 'Wh some spattemg.
t OJ out lhe area lhat you
•'3fll ro be spattered with
,\'"'lite.
8 First. use masi<Jng tape to
C<YVeT U11W31'lted arooc. While
lhere is special papef
available on tne market fOf
this type of wor1(. In this case
the back of a tone sheet os
used and spray glue os
applied.
e Go JOf a gradation effect
when spettenng the white.
e Apply as little glue as
pooolblo. If you don't, lho
tone peels off and the page
will get wet If you apply too
much glue. wope it off with a
tissue paper.
Checkpoint
This drawing uses the same
gradatioo tone on a layering
effect. ·
63
Expressing Small Props
use perspective here.
Tt1e rno~i difficult nart about drawing small
props Is probably !he companson and contrast
with hL•man figures. Apply the same design
mett10ds that you have been 11sing up 11nUI
now. One Lhlng to be careful of Is the size ot
the props. While il does depend on the t>und of
the ch<~racter. trY io draw small props a bit on
the large side. You rnay notice that you hav<>
drawn ihe prop on the small side making II
look cheap and flimsy ruining the drawing you
have wor!<ed so hard to create. This is a
common mistaKe so be careful.

64
 Chapter 3
How to Draw Nature and Animals

65
•
Drawing nature is
ex1remely difficUlt
so you can't go
and draw every
leaf on every tree
and every blade
of grass. You
need to consider
methods to make
the drawing look
enougn ltKe
nature.

Expresstng Trees and Gtass

Since trees often

appear in street
scenes giving you
plenty of chances
to draw them, try
to remember a
few of these
management
techniques. As a
basic rule, at first
you need to
consider the
structure of trees.

Take for exarnpiA a wlth&rwlroo

Drawing A - lfiMes gather at

66 1he end of tile brE:onches.
 The first simple and easy method to handle
thiS is t<J use pen touches.

Drawing B

/
light ,---..
... ,
'
\ <J
/~
I

Tile thinking behind Drawing I< is also a good 1t1ea to Adding to the
8 is that pen touches are th1nk about the contrast shadoW ateas is also
added to the snaded areas of the col(lrs In the a good idea.
of the tree. shadows.

Sometimes the er.tire tree

can be treated wlt11 black. 67
Usrf1g effects like double pass
horizontal lines skllltulli' used
ir1 t!llckets of tr~s a'>cl grass
can rncrease your variauons
and render effects ti~e an oil
pWnnng.

Considering the Trunk Simply speakJng, oonsider

Since the trunk of a tree is gradatjon effects and how to
cyhndl ical 1n natwre, be sure apply thern.
and craw It so it ooesn ·uool<
flat when applying
managemom lachnfques. An
example is given on the right
on how to manage the
technique or bringing out the
sense ot three·dimenslonalily
in the tree

Wl1en applying pen Finally. consider

techniques to lhe overall adding branches
term. keep Ina gradatioll that looK like real
elfecr in mind. tree branchoo
and draw,

Adding vertJcal
11r1es rs also
effective.

68
 W~oo ora'""'9 woods and
<milS. the easy part is
ll".ll" Is up froot and tho
:oAt pan is \1/hat is 1n
#oellack. Omwiog all the
111e0 NOuld be quite an
''~eking and difficun to
~rnprel1end.

t"" f you draw EMl!ything

i f, ft\e drawtng coUICJ
J1C JP being COfllused and
.t~11&euous; lhus. it is
:;m ~ nanclle back areas
'~''11:! 00\lble pass hnes
il.T'IJ6 QO!nQ for a
t.n·!Nl!aNle than actual
II<IL!v

OJaWillg Leaves and Grass

2 1t'ti!'1 1 drsw ctrl f"'ut {.'lome thmmn:t in:o
ll"'tAfs;~,r,-w·~g l':lttved !!n~ 1I1E:1 \In~' a·~ oo
j\1•16~ Ill ill
grass have two sides
~._,., ;ro (!Ef:lllfldiog on th& ~le. yau
111
•rJr "'~~"' to fhJw the
J d.i&de. As a base rui<J.
• ·ldel a'ld dtfN!Ieaves and
;s il<e the illostraboo on tna
I I Y
1. Ars1. w:..ng a 'l. rvml)t dt'n.w .1 Om\... r"~ rlgm
~'lf~ llr ~;t~,;,.. ll1o oh<ipe Jlldle~ sidaS
'""" flow of tlo :'11,' • "9 up
leaf El~ It1e rltj111 the ba9.!1mes.
3f1d left &dos ol
l~l"'vi:IS arKJ. gr!iR.
aro s,f""''TlStric

1 • gt~SS tS a lalge sozad

ntmw,the principles tor
1Any leaves can be applied n
1 rl<aw t he
I 2. Draw the 3. Tidy up As ror tne case of weeds,
ftow of p!iak. IIIll •hll b;)sll; school of lhink>ng
tile grass. sllape t3 rE!I)feSSI'1ted n DraWing
A. Th!!n a I you have to dO
IS jiJSI nlake ::J<awi>g A
30ITIO'M1alll10m compleX

69
Expressing Rocks and Boulders

For rocks and boulders,

the environment in
which they are set Is
Important. For example,
the flow of water In
rivers and the like wears
down the rocks making
their surface smooth
while boulders on a
hillside tend to be
rugged. There are
various kinds of rocks
and boulders, which are
different, based on the
environment in which
they exrst. In order to
bring out the place,
environment and
atmosphere, it Is
necessary to remember
several management
methods.

70 Rooks In nvEIS and oceans are worn down by the ffow of

the water end the SUI face of t11em becornes sr!loottJ,
 First of all, the water As !he wave breaks, the foam
rises up tn the quickly rises and the white
direction of the force. water increases.

The water nses ano

y~-=
As the wave breaks. ihe foamed
as nreaches a peak, up area spkts and widens to the
Ire foam nses. lelt and nght.

71
A large amount of
loam, wnlch emerges
trom the wavas,
floats on top near the
shora resembling the
mesh ol a fishing net

~xproSS1ng waves
also changes wiU 1
'he s~uation ,

Technique Point
The character ln the
CJraw'ng on the right
<S tho only plaoe
where pen work w.as
added· the
bacl\ground was
handled completely
li'nth tooes. To make
tne draw1ng sound
uslno only tones, the
accent 1n the
contrast needs to be
firmly drawn.

72
 Depending on the situation. the expression of water chai11Qes making it
~oo.---....1 difficult to draw. In manga, water is eKpressed as moving at a fiKed moment
in time•

. . . . ._ --- - - .....r
- " · ""-·
!"tl<J J)a'l. lhe .,.,.,.,...,.. ol -
5 la'docl cy using -.s.
., "'t""' -...ra!IOn lho baf::t..grc:>.nd '""' boM ln1..,1foro 11y
, . . . , _ 10 DmiJ 00( ""'cMtra>!- ,•., ........ :nl
~ ~"'''Y CJSt3l'lllsllltlO oer.se cl elOSl<:<ICe ot l1le ~r.~I...­
W'-Er•_.,. tbals ., ~ V the nan.te ot ot - d.Je to
glfbe::e a&lSO'\ - ~ lO form .n1o b;J5

•q8 IJ" ...., grnn! .......... . ~ .o.e fa- 'llsn, i<-

Vltl<ll. 'f'(JU.,...,. lo 'll<E!m<>SI In 'IOU< .,..., """" I
dfa'w'MlQ r&• Is thal \-.h.:llevt:Y gots rained 01" •)e:S wet &;

I
"g"OV"o(J " wet ~ re<lcels 11'1•"9$ loKe lt1e neon ~(JI1's
"' ob•<is '" ~ clayllmc eorotul no: 10 lo<gGt tO adO ll1t'l e!let.1 ,.;hoi> a'a\Mng min

When l'\lln laiiS on

wales, npples lorm
and reflect right. In
s. water, objects reflect
like a rmr ror.

73
On the other
hand, water Is
transparent and
when force is
applied. waves
swimmingly form.

Fvndamentally,
water flows from
high places to low
places; however,
depending on the
situation, consider
the di!terent
phenomena that
occur In different
snuations when
expressing water.

For example, pour

1\dd a little light to the '1<81•
some water into a making It three-dimensl~nl
cup to the point II . I \II
that it almost I I I
overflows. The I ., I ~I
water seems to
float on top of the
cup and doesn't
d
~-- :ll
spill. The
phenomenon here
is known as
surface tension.

Surtace l:ension
also occurs 1n
water spilled on c &@iii dil'
the floor. nit! p!'\&I'!O•f!ai)OI! Ol liiJ
1cnsioo cecum nai O{\~~~~
water t.:ut al~o in othef hi

74
 Drawing A is a well-drawn example making use of scribbles
ii;i;:::=:::.~ to express clouds.

Drawing A

Using Drawing A as a foundation,

develop it making it more
complex •

.......,... U!lllO a pen 10 """""' !he olfccls. m Glou tne now a

,..., d01105 "'" mai<e oore the pen tuuct-..:~ do""' ~
too ~- Also. ttw1k about lh9 OOI"1ImSI d ft"G
sha<lowo ~t id handle ~ s oy adding det"'l od lin&.:
75
Expressing Fire
and Smo~e
Consider the
phenomenon
when a fire
breaks out
Imagine what
happens to the
surroundings and
think about how
to express this.

'n mind lhings · t1eat. light and srnoke

when you draw.

·n;e illustration on the

right represent!; the
baste con;positioh at
a large nra. Using this
as a base, use your
favonre marmgement
rnethods io express ~, ~
the fire. I
~
/
r
r(
~
r'
lL,
76
Smolle can engulf Use the Illustration
Jl'd SWirl on the right as the
dep<!rlo.ng on the basic composition
1iOW of ihe a;r. of wtlan thinking of
expressing smoke.

Breaking down t1e drawing on the left

into outlines. ren::lers 1he drawing
above.

77
 Explosions can be easily divided Into two types. They are:
Expressing Explosions
L-.------...1 1) Wind explosions from gunpowder and the like and
2) flame explosions from gases and g~solinP..

Wind explosions convey a sense at bursting open. Sines they llavo the abillly to Pl.lt out llres, ltl!l)'
don't generally tend to cause fires and tend 10 deslmy the surroundings.

name explosions
convey a sense of
burnino as the flames
muve to fhe
surroundings .f.lnd
develop into larger lil~

78
 Leam the
tundamentals for the
qual&tles ot
movement and form
trom tha drawings on
the left Then,
develop your 1deas
and make YQ1X
drawings mora
~:::::::, complex.

~'S
v.·i:Jt;,~ ,
'"""',,.,IX' .....
fro« tttJ ..-.sioe lu tna
~~ E.><Pt*Jns tl13' lal<e ~- •lli1C
ru. teld to oe e1rcuJar lr• sNipo.
o:..tsidll

Wl1en showing !he scale of

the explosion, if yoo have
something to usa as a
comparison, the sile Is east
to understand; however, the
main point here Is not to
ShQw tl"'e size t:Jut to show
the complexity o( the
expiOOloo.

l
79 '
 Expressing Animals

Sometimes you may

have to draw animals i~
your manga. While it is
fine to roughly outline
them and add some
deformation when
drawing them, you can
expand the power of
) your expression by
researching the skelelal
structure of animals.

centerline

~-
~~~/
~\().
L -~ ·~ l ·
\ '~
I . "~
When doing your des1gn. draw centerllnes for viewing the .-":'--1) • --
now of lt\e body and the balance of the right and left s.des. ,.-""
80
 Sometimes you
can't see certain
_pans oepending Since gathering
the .angle. reference material for
animal skeletons is
sometimes difficult,
consider the manner in
which the body is
organized by looking
carefully at it from a
variety of angles.

in

tal
Cats ooze pliability pushing o.Jt all over the entire
\~'
~ ~\ Individual characteristics
exist even in animal
drawing like some kind ol female Imagery.
behavior. Observe them
carefully bringing your
drawings to life.

A dog in a 'play wlll1 ma'

pose. Dogs express fun
ana anger witn their
: ~ entine bodies. Don't
-~' forget their liveliness. 01
course, older dogs are a
different story. Older
dogs tend to express
gentleness all ovet.

L.arge Fmimals are appealing

because of their prolounoness
and strength. Picture leisurely
moven•ent in your m1nd.

Set a high value on quick

.. ·oustlrng· movement for sma
birds and tiny animals.

82
of Animals that Appear in Stories
tor llnlmal oriented manga, for the most part, animals usually play
characters. Try im<tgining whet kind of animal would be cast in a
role.

For partner role

anlmats.
Intelligent animals like
dogs and birdS are often
used. In some cases,
they can communicate
vAih humans.

Animals cast as
V1ltafos' pel$ eJ<press
the villain as
someone who wants
to own things.
IJ•IIains usually have
slender animals like
IOnghalred cats, dogs
like Doberman
pinschers and boxers,
beasts like alllgaws
and Ugers In tclw. In the
case of women. they
somebmes have reptiles
as pets.

OQgs
Triangles are the basic
shape. ....____..
throwing out •
its chest "'

shaped like
al'l eggplant

83
-
 ~~~Th~~-~--~--~~~~~

Drci~ing Imaginary
.-
Whon drawfng
Imaginary \
animals, if you
make reference
ro lllings like
the skeletal
structure of
actual living
animals, it can
help your
Imagination a
great deal
resulting in a
v.etl-fonmed

111 tllfs drawing,

lhe head, face,
U1d jaw where
liken from
referencing the
te1111e skeleton
and then
deformed,

The skeleton In Drawing A

is reline. The mechan1sm of
the movement of the
mouth In the anglo of the
mouth when the mouth
opens, as well as, the
I
relationship ot the position
of the eyes and gils when
I
the moulh is open, makes
lor good reference.

85
I
l
 \' \
't~ • • ..

\
{I-I I I.,~ ' ...

Of course you can use

rep!ilos or horoos, ste.• for
rererence too. tt )list so
happens that the (311imal
the ar list is most ramilfar
with IS ca1s.
The best adv1cs Is 1o
practice drawrng a variety
ol animals and species.

The method applied In

draw1119 the front leg was
patterned aher a human
hand

JusliM<e a cat, the head or a dra_qoo can be con~

from triangles

86
 rmmd pen uso

Constde< the
building anrlllght
and <~PPIY grc1datlon
tones

The hudding uses a 30%

lone with lhe w•ndows
grudated.
l
87
I
 • • •
• • '
Use pen tip to draw
lines with white

While it is easy to think of the usage of

white, black and tones, as for erasing,
painting and attaching respectively, please
consider their usage as drawing items
instead of as independent functioning items.
With this frame of mind, you can apply the
use of these tools and expand your range of
expression. Several methods for using white
are introduced here.

Here are various examples where white iS drawn

to handle effects like talarni mat noonng, a
building, light and marg1ns In pnnled text.

First, prepare a used pen tip (G

e At times. you may need to aojust

G Dip the pen in water and
whip off any 1nk previously
in the pen. rhen dip lhe
pen 1n the water again,
88
19 Without wiping otf the
water. add while to the
pen tip with a brush.
the amount of water by wiping it a
bit. If there is too much water, wale•
balls form and do things like drip
from the pen and get under the
ruler and if the 1nk is nol
waterproof. It will blot the page.
 ttw trnes. tf there is too lillie water. II is
d'lirull 'or the wMe to flow out of the pen. In
11. car.e. add a ittle bit of water to the pen hp
ild ~ ·!!d( ltle condition of the flow, Betore
•\n.l on you- ongioal pages. tJy drawing on
flll!l!!r peace of paper,
0 Another methOd is to use whtle ink which avotds
getting water on the page. Aaaing white dtreot1y
on the page is okay too and easy to do. In
addrtoon. this is recorrrneoded for waterp10ofing
ordinary black ink.

Depending on the situation. o

touch-up pen can alSo be used.
An easy methOd tor draw~ng stars ana
fragments from explosions IS to n,ng white
from the edge of the bottle onto the page.
Be catetul ot adJUSting tne amount or water.

Another method •s to do
lhlngs like blow on the
non for a spallering
e«ect. As a basic rute,
before adding the effect
to the original page, test
tho offect on another
p<ece of page and then
go back to the original
page

I
liS~ 110 used for addir.g light ai"<J
!~:'• N"lllt to make the letters stand out.
outlfning text for
I
89
 'MI<!I 1 <.11 aw og For-~ .•

O'!oc:ls ""
1'1;) . II Ill ODI(lCts
f11•-; dO'.""jn"t..
"""
ohutvorwt"' a
1(,8 un·tS~. ::oud " <I 00\.(l
loo~ 1\Y..,_.,
lll!Oll, r.o "rrtlttor hOh'
c loud.
oculdofl';, ~~·~ng" ""'
Ul:ltnl'i$, IJ·"· oh~pt; e<lti •
water and mr.ogntzed
cloud$ oe<:pile "C<'.OIIl"'91y
lrJ(llllng nt a HO\~,l i•IS
prvlO$j'\IIAI. <:k>O!I no\
:nero llr& 1 m~!:i npr.ast.dfoly t'ad
W"8n)'OU Irut< tor c<oudll
cant '*•"' dra'.Y" il
'*''.....
'"""'""~

Countermeasures
In a word, what
neeos to be
done IS lo maKe
The ckav~ng llas
distinctive features,
nut most
importantly, .t
causes the matority
--
people think that ot people to A drawing oone
recollect some kind I.Jy a child.
rt Is a cloud.
of fixed toea in tt10 r TMSA 1•gures
minds. are no laughing

For the most part,

humans tend to see
·111~\Ct~J o(Jc~jf2 N.o · ~)lnd of
m~n!Jgement methods are
things with a Sveaklfl~ of
d~o;~c~lvM ... look, f1~r~ I!> ~If 1l'll!~1:!Wt'ldation Qf the
preconception. ll ts
the <>tyle. dt~g&~s a f~d
the artist's job to Idea in theP&imposltiOn and
make use of these ~ art is developed to your
fixed Ideas and llls,ltl~. you should be able to
praconcepllons. make people think th11t this
is a cloud.
 Chapter 4
How to Create
a Short Story Manga
A story is something
that is composed of a
ALI\rst. we'll create a short
character and actions story. Reading ihe weekly
that the character manga magazines,
brings about.

you will notice

that 1he Darn. end
majority of tt1P. oi ihe
stories are road ...
series where

Momotaroo!
Looks like
yo•f<e at a
great
disAO\iantag~!

a lot of
fascinating
cl1aracters
appear
 JWj With
these 1am grateful
characters, to s/1 of you!
tl1e story gels
IJiggef and
mQ(e
~ ''eresting
but ... '

almol
v~ no, I'mmeltingl
W11h sho1: unresolvec
\1 that won't EliJlSOdes
~tori"'· il you try
work for to create a muking tor a
short complex story, MW fi'1ishecl.
stories. d~ICUk to

·~
stoty. So why
dOes& end
UP ike lhos?
you I ona •P
ncreasing T'lo
numl:ltl< or
chnracters
res,.lting '"·.
 character As a iarniliar example. let's say that you in your
'kyaral<ul!la' or sal<ool uniform are in the same class with B-kun.
'kyara' rn
Japanese from Since you have just met you don't know much
tt'" Ff'lglish word about each other.
'd-..~:traGt€r1 - a
nour 1 ll)~n ·ny
personality or
1ndivid ua)ty.

manga
And in terminology a
person that enters
tt·re story is called
a chatacter.
Pop QUIZ
Essentially. it •,ivho u10'?
time. I dQf'l'·
means the various
What kind krtO'N,
idiosyncras1es that
or guy 1s
possess.
B-kun?
Well, you
could say
tnat but.. ~~~~

The reason is because

you have gone lhrough
Oh? He's a
some fun and dilficull
good dude. times together as friends
But he's got a over tile past year anc;l
loud vorce
you have gotten to know
and his teet and understand 8-kun.
stink. And he
loves chicks.

.. ,or The same goes lor

something manga characters.
to that After the reader
effect. sees a few scenes,
lhey understand
the character and
have feelings for
him.

94
1goos 1"ilthout say ng that P.'S9'!" wl Bv:. silO'! story- &s In aoa~ioo.
lo t.>e e><peroded :o show SCtY1eS :ho name suggest' - tnr'o~Jg'ool
"""'ber
[ _"''""~_]
I<as a lmited !he story.
oipaqes the set1ing
nas to be
explained.
Ihe
ctlaracter 1 ,, \
..,h <;tlarocters

"r- '
[
~1-.character
- - relationships
have to be
1 lntrod"ced
and The

""Ia
storyline

S<lC8 llle d€\telopmenl ::1 T~r~ · .;no PiS:I " som01hr1g flas to
I ~..sn ~oo ..;all go, ttt.e only U•mg :"
lhol 5<!tling afld stor1 N!
1 h~..- ;_h.aracu:r.t~.
cannot be omittec ... ornll Is d1a number

Ouohl My
i'~.ck .. ~

Vli<lng many characlel's Is In a word. a few cracll

110( sultanle for short stories. characters are desirable fO<
creating a short story.

~1VJ, 'Y'7~ n u t.,:.U

~ ~~'\
(

95
Wl1i1e the rule if the c;harac<ers
-tre less do11' t ltave
characters sometl<ing lnat will
lhe better fascinate lhe
readers. they won't
a~-a1rno•unl to much.

5 f"tYI C Ot1 C

like me1
unsurprisi~

Jsto make
peop'e think
the character
sa sl!glltly
QUJrky
person.

It Is your job to
t1ecide what ~ind
o1 character to
create! Good ouL~~~s'~l~

In ordel lo create appealing characters,

visual and personality points can be cons•dered.
 rake a look at the folloWing example using a low crack
characters like Momotaroo.

The maio
s!oryline is
obout
Momotaroo
staying the
ogre.

little lon~y and The familiar

ittle short on things to d~rect dog,
monkey and
pheasant
characters
as well as
the old man
and old
woman
characters
can enter
the scene
but. ..
It is best to think of ~, ~~ 01n !.\pe.;~k t'll~
1hE>.se as Pi'QPS to A nice couple TI1a little COl•••Jn"t t<c-::.1~1..- thdt
VISUally explain founo Momot.aroo SICeKICI<S :i!ppr.tft.e~,
Inside s peach - -~to$ ld....J $'•! 1 ,.-~ 1'\'SI~ £•
Thai are
Momotaroo's world. lured by
'momo' in tli~ e.f.>te•.

Japanese - by the du-nplings /

v, and follow
(iver and ra,seo
him to
him as their own. ba~ue.

MmM.

These
characters
then appear
as part or ttle
Momotaroo
episode.

All in all, Momot<troo and ;he ogre should be lhe ones tnat stand out prominently.
98 This is wha; is mean\ by a tew crack characlera,
Short Story Themes Avotd big themes aefee~t1ng a
Keeping it Simple
if posS•I:Jje wi1h pow.,.riUI Vlllilln
The theme is 1he short stones. and the l•ke.
A I;Jig theme
'character as he ought would be
to be' which runs something like
through the center of becoming tile
the storyline. strongest man to
the world or

1r the theme Is becomtng

the strongest man in th~
wor1d then the dlaraCifll'
mus1 dereat several oltler
characters, whiCh
doesn 'I make for a short
story.

For ~. ;:u\ f'lG!llrlg

0'1e S k)\•A $0 50I'I'le()fiQ 01
d.)te.ating u11a'• tone 0110
only OM) rival ~tl The topic of genres
bles with only a t<;w
will have to be
~-.,.,.,
n~.o•r,tmr of charsctors IS abl'idged ror now•
limite<! """' me Uke don't blame
hE>Qo"""'Y hA thBmes ~r• me okay..
ra.,...,~r"' Jhcrt
s;orte.. !.<

99
Drawing an Original Work Then ... Simply wlite
With lhe following formula In down Ule
m1nd: scenes and
With the previously episodes you
Al this iirne, a
introduced lundamental vague image of
wanl (an outline
guidelines in mind, try Past (reason) -t- is also
the m<m
creating your own Present (event)= permissible}.
cMracter and
original work. First, thil!k Future (outcorne) theme should
become evident.
about the plot.
summarize the overall
contents into a synopsis
thus creating the toundaiion
of the story. Tt{!s uocument
is m own as your plot oulline.

Next consider your

How to Organize the
Elements
Retnember to characters. Organize the elements
only include
while considering the
charachll s ; hat TI1en. interweave your hlghtigtns of the story gnQ
support the cnaracters wrrh rhe most shining exarnples of
sioryllne. scenario anct visual direction and
recomposE! ttle foreshadowing.
storyline.

For example,
CINDEREUA is a
story about a girl
with two Wicked
stepsisters who

"8
cattse her a lot of
grief and ... My In the. end,
wh~•? Cil'derella .ends
up lleoQm,ng
invotved wfth (foot
ietish?) J)ii1Ce.

0
•••
The past (reason) is Cinderella being abused da'i.ly t>y the stepsisters and
d<oamln9 ol on• o:a~ lj<>•~Q to 1M b~IL Tho l'fOSOill (evonl) $ 1hO •rrlva11>$r
tairy godmotner making going to a ball a reality. Tho futtlre (outcome} is he.
OOcomlng involved wllh tha prtnee.
 Nt~ltl ! A ct:~lhar'Sis s1_y1e lQie Is one Wh&m vagedY C<Jntlnues
wnh the ou1come conaluding into a happy end1ng.
~~s catharsis slylo story is a so-called
classic containing a climactic last scene
M'!Ch is seen if1 ITiany works. ...---, A climax is defined as the
high point of the story
where all the previous
scenes and Rewrite an}1nlng
foreshadowing build and everything llntil
you think the story is
towards and the theme objectively
the story is expressed in interesting at tile
its most clear form, outline level.
Therefore, when
considering scenes, they
must not be detached
from the theme. Asho~
story cannot afford
detours in the storyline.

Mlr11-lesson Please acme

In Understanding home by
Visual Direction midnight all
right?
The word
'foreshadowing' was
used earlier. rhis Is
When something that
wil occur In tl'\e
latter-halt of the story ,.....,,....,.-
Is Inflicted upon the
ct\aracter ea~ler in
lne
the SIOI)'.
tore.shadowtng
Foreshadowing Is
crops a htet bY
used in the following
sa;\ns;~ ilia!
way In Cinderella.
.somollhlng will

I've only got

three hoursU

101
 Allotting pages from the Script Next, allo t
to1he Manga parts of
It is important to
1ihink it is the script
consider the Add scene settings and dialogue easier to do
type of speech to the
to the plot outline to complete tl1os now than rnanga
suilable far each
character. your seript at the plot pages.
olrtllne level.

Well.<$i11'r.
th~~ 6(
bl-.'*> . .. Hoy
t.r a 1.. kind af
ctct.l on will
wonc:.

Allotting Pages Take tt1e stnry

of Mornota.roo
for example...
Divide off the script into
one-episode scenes. An old woman
While doing
laundry at the
riverbaJnk picks \~~~ij~
up a giant 1
peach, which
floats by. This
is scene one.

Then the scenery

changes. She brings the
peacn hOtne and
a tittle boy appears. Up to
here Is one more scene.
.
when she
cuts t.he
peach,

102
 If you use over riVe
j'lages per sce11e tor a
one scene as 32-page short s1ory,
one to lour pages there wi• not be room
as a nAe oi lor the othef scenes.

We'll make orriSSJons to the

Getting the Right Number of Mornotaroo sTory by
Pages removmg tile scenes where
the peach JS found and cut
To get the right number of open
pages make abbreviations and
omissions to the script when
scenes are too detalled or too
long Of too much has been
written to explain something
pedestrian.

yielding the following

results:

SPI.OOSHII

Even W11tlovt the

The old woman Rnally we cvt to the above lwo scenes,
nOTICes a lloating hoy coming ovt. the storyline works
peach. and can be
conveyed 10 1he
readet.

'
Then we cu1 to the
scene at the house.

103
 However, If omissions .are
made to lila part expressing
the1heme or Illa lllroughllnes You Gton't hav<~ to f>how lv
In the script. you won 't be able ·&o rr.e.
to convey what you want to
the reader. Yeah e.o ...

Omission Is a means
to get the important
parts of the story on
the page and by no
means inlendsd to
thin out 1he smryline,

Fundamental The general

Frame Rules rule for lhe
ftow of the
Based on the
irameR '"
script, consider Japanese
the spread of the manga Is
nght to left.
frames using
composition
paper.

Aligmng the
FoliO'IV'fl9 this basic knowledge p1ctures with thls
of flow, strange shaped frames flow makes !he
can be created. The most frames easy to
Important thing to conslcler is see. The flow is
Whether o< not the frames .are right to left and
top to bottom.

The number of frames

per page should be six
or seven al most
104 For Japanesa manga. the. ~ow is rfgN to left
 Then,
consider the
organization
of the frames
using a
variety of
compositions.

low angle composition eye-level composition hrgh angle

long shot (drstant vleW)

1\S a basic rule, iull shot (entire bodY view)

when using these
compositions,
organize the
flames to convey to
111e reader in an
sasy-to-understand
manner the
following; who,
lvhat when, where.
clo~-e up shor close shol (bl:lst-up shdl)

105
J
 By USing a (UII·SI1ot
with the characiers,
the entire situarion
1
ceo be understo<>d lh
one viewing, Then,
:~~~=~ compose tne frame
ji so not to be
, ·""' ~~~~p='=:;~ monotonous using
"' up-shots for any
I
t:
~~~[t:JLJI!!~~f!f~~ El\l!l~'llcharacters,
=1!-"=tr:!,w,;.:UUI emotions. obiecls or
rha dialogue is used well ana the s.toJaM~ .s VIsually dlrectod areas you want to
In an understandable manner. emphasize.
As fundamental composition example,

In tt1e second frame,

snow the 11me and
place wrth a full scene show the
shoi. Since the place iri the
S~Jdents aie carrying first rrarn~A
on In lhe l)allway, we
understand that t11ey
are between cla~ses.

Move to an uo·shot In
the third frame and
inform the reader of
the character you wanl
to show.

not

In the fuurttl
frame, move
_.. back to a full
~ scene shot
showing the
As a word of caution, overall
be careful not to draw condition
all the frames from the
same fixed angle as it
mal~as fora
monntnnn1 ,s
composition,

106
 THUMMPII
Depending on the
direction, the way First. start off with a luN scene ShOt to:
of advancing the * craracters
~ the DOSIIional f'eCalionshlp o/ tne
frames differs. The * srow character movement from place
to place
general rules are:
* sh~w when the setting has chW'lged.
Wt1en~er there is a Change in setting or
sometlling has happened, the full scene
shot sa composition you will surely want
to use.

The scenery in Wllh eecll scene you

the establishing want to ~-<ave at least
shot should have one establlsh•ng shot
frarna. The scenery in
asignaling efteot the establishing 3hOt
saying the soene should not simply be
tlas changed. buila•ngs. streets or
nature. Try dellis:ng
vatious sel·ups 11'1019
~l<e the establishing
Shot from ltle second
frame in tte p~1ous
example.

Midway rhrough tile pa9e If

the prevlolJS scene ends,
ineerl on establl&hing ;;hot to
Considering Q•ve continuity to the next
the V'tSUal scene.
Direction ol
Establishing
Shots Close-ups are
reserved for
things difficun to
'Qr OICSffiple, II yeo wam to draw a pl~wre showing !he &xplarn with a
,,m•ml ol studants to Sdlool, lust ShOWing Ihe bulldJng small drawing.
t1:1es 11o! r.oovey 1115 Situation, Sontetlnng IS rntssmg.
If at mosi yov
loilow these
lUes to a bare
ITIIJllmum. you
will be able to
oornpose easily
understandable
drawings.

.I
107
Moving Characters on the Page

Movement in manga
means that the
characters and
animals look like they
are moving In a single
picture. This can be
fundamentally
accomplished with
simple management
lines,

speed lines and

a method of using of
afterimages called
'obake' In Japanese.

'Cibake' is a method
lor 6J<P(95Sing 1he
speed ot rrovemem by
defonning the
aftenmage.

108
 Gl'<IITTI
Writteo text
conveys And last but
delicate and 110t least.
continuous one ea11not
movements, ne§lect the
psycllological written text.
,, descriptions
·'• and

all::>ws U1e reader to

Imagine things. like
the force.

In anime, there
are pictures with
sel poses called
'ge11ga' In
Japanese.

IOSerting
motu'tls
hsfween the
genga, the
d~&W~ng looks The frames on
1 ~ IS mo•"no
the 11ext page
use a method
similar to anime
to show
continuous
movement.

109
Just like tn antme, manga makes use of genga(ortginal draWing) by hntng up two frames.
By doing 111is. 1he two rrames are connected allowing the reader to Imagine movement.

'
•••
•
••• '( \
1 J
fJtjj -v

~-
* •'
(
y A-,
BOOOING
'<'Y· ""-

INI-IIe get'Cfal rue

:or allotttng ftames
ror movement Is 10 the !tames do rtOt
line up two fra.tnes have lo oe the
aiO\IIing the teader !\arne SJ:Z.e like in
to •rnag>ne the the ITaiJ1a€ ai»Je
movement.

For
eXl!ntple. avon 1f you chango the size or
thiS frame the composiLon of 111is 11ex1
s small frame ~ :;ttows continuity wrlh
and the previous rrame and 016
reader can understand my
movement.

110
Three Frame continuous
Movement

Making the Reader

For example.
Imagine Movement laKe a scene
You can
talK the tatk
with Frame wl1ere lhe
Composition bearded man
tries to ptol:ec~
!1is daughter.

Tha oe!ea or rnovernent can There is a w.da

bo c.on>I('YE'd by moving the v<:trlety 01
·ra"''!l a11rl IJ~Ir~g wrlttun text. composition
In this case, SI10Wong t:te movement OVI there.
"""ltirm ·~ ,,.,,, !)lrl* ·ace lets Try studying your
.ha vl~ttr '' nug•~ U1a lerrlbl<i
nature oliN fig111 tavonte manga
stories and films.
Balancing the Composition

'.\lhoo .,.co fOOd While tnis can decend

f'Mq,J~. \IQI,J v,il! noto~ee
11mmmm. on the style of the
lt">at eve<> lhoogt> lM iQ
Is a _gtoot Ua'tl t)l whae work, the real reason
space· 'ychakU' in is ltlat tha three-poirt
Jat~~ lji S6lr'1t1 ltrl"'"ctJlar\ partillonlng
WOJ'r~.~ U1a t:on'p:jijition
i~ b..'l~nceo aoo t!10
uso o1 wrote sp;u)H is
tiki!la:J tar:ht1!que

Tl1ree-point
partitiontng
Is...

. - - - - - - - - - - - , Take a look at
the follow ing
dl<'lwings. The
first drawing is
strangely
unstable.

Wl1en a picture
rrame Is added
to accent the
whHespace,
now the drawif\!j
looks stable.

Slability can be
achieved by
Keep tl1is terming a triangle
general rule in like in the'
rnind for now. following drawing.
Okay? rills Is three-polnt
partitioning.

112
rvt more s11 "IJIY, 11 1s a methOd ror
adding stability by accenting white
areas. All yru !"laVe to do is to add
ti'IIOQS like the dialogue balloon,
clouds and tree branches in the
lollowing drawings. This is enough
to make the draw.ng look more
stable. Three-point partitioning 1s
at most just a basic rule. Don't
worry abou1 it too mUCh and try to
keep your drawings from
becoming too confused.

113
Frame Structure ill a
Spread Layout
No matter how good the
story is or beautiful the
pictures are, if th'e frame
allotment is not good, the
work will loose its appeal.

The size at the layout of the drawings and

frames in figure 1 are all the same and too
monotonous. Consider using a variety of
close-up and long shots, big and small
frames and blocked off frames. These
elements bring 1he frame allotment to life in
figure 2. One basic rule is to avoid similar
layouts on adjoining pages.

throat - 'nodo' In Japanese

Be sure and avoid placing blocked

frames on the throat of the page. If you
Since frame
can't avoid it, do not include dialogue allotment IS one
balloons and other areas you want to technique tor
display on the throat. Too much text is skillfully displaying
the drawings, I'll
not good. Even if exposition Is required,
teach you
try to keep it to a minimum. properly.

114
·~·
B is the correct answer.

Japanese manga
magazines close on n1is can affect
Ole leH. the impact of
each page and Wow! Tnie le cool.
Maybe it's the the overall work
to left nature of
Regardless. Japanese or LM
place the way people hold
drawing you manga: no one
I<Vant to show olf knows lrte real

Based on your
script, surely 1here
are pages ihat
won't work out like
this,

bul lry your best

to include frame
a/lotmen1 that
makes readers
want more.
Getting the Story Rolling ·First of all, the
following must
be conveyed
T:he introduction is the lo the reader:
'hook' of your story. Try who 1s the
getting the story rolling main
with the script and character,
what is the
visuals Oncludlng frame setting and
allotment). world.

As a general
rule, the main
character
appears in the
beginning;

however, hi:; that is absolutely If I may be allow

true but .. to speall here-. .
physical baing
does not have to What I really Watlt
be shown. For is something that
hookS the reMer
example, Mr. A. from lbe start,
characters
C0tt1f'3"Y
gossiping about ma11e .a
th£> main editor
character Is
enough to give
existence.

ldealry, It is best fo
think of this as a
gratuity scene that
catches the
reader's eye

as she !lips
through the first
four pages of the
work.
 If the all on your
hands ~'llcks to
the page, it Will
cause blots when
the inking is done
Remember to lay a piece or paper
Before handling under the hand that holds the pen.
the pages, be Also, keeping oil off the page
Sli'E! and wash PfeveniS penciled lines from being
your har\ds. too light ana gelling dtrty.

The standard size of lext rn

Draw dialogue
Japanese manga dialogue
balloons a little on
the large side. u r) balloons ts 0.5 em by 0.5
cm(O.SCm oS approx. 0.2 ln.)
I
Draw large Japanese ~ 0 per letter with about seven
Japanese characters per line.
characters lor wllh I=:J u
~~
volume like loud seven Jaoanese characters
!IOices and saeams. lJ II
_.,
LJ u
n
~ For yOUth magazine,
[j
I
leave space between 0
~
1._
the ltnes for phonetic
readings of Japanese
characters - ·furigana· rn
Japanese.

• •••••••••••••••••• Use a balloon and

•
• ••
: fhe represenlattve •• lettetlng template (as
• fonts often used in •• shOwn below) ~yOU
Japanese manga •• have some uneasiness
are·
•• about the stze of the
• charactef'S or the
An1tque •• space between the
Naaru D ••• lines.
Mtnchoo
•• Gotljc •••
•• ••
•••••••••••••••••••

118
Use tracing paper to do Flrsl. lay lhe tracing For a reverse effect. block out the
these effects. paper over the t:rame n red and write 'reverseo out
page. wt1ite' on the tracing paper.

rova~o(J
R>l,< c~o O ~Jt: whit.c
~'"'Ct' '"'2

~
vaper
~~t t-Il"
~.<19 ....."\(j
ott.a~l It
with
t-ape.
' I

WhP.n tne manga iS

For laying text over I he ~lllished, the pubhshel Rnalty, do not
Iones, lay trac•ng paper will put 1t in for you so write the tnle 1n
over tl\e desire<! area and be sure and write the pen on the
Write CUI the 1ex1 title In pencil. cover sheet.

title

119
 To l)ecomla
ru..-tual~y. Tako you• work d1recUy to the
manoa arllst,
lai<l~(l y01J1 amering t11o publisher and have an editor
WOti<LO new taiM" read your manga. Then, ask for
tham is CO!llllel~lon. some advioe
re<:Qri1ITlef I 6f)OI1..)'9d lly
ued eadlof tro
pUOIISheos oa o
- .......... """" <*. r.~

Cautionary Guidelines Part 1

If the work 1.$ good enough, :he editor Will
rhe 'VT1ber or
judge the work W1Cl recommand 11 ror the
new talent competition. (Of courso-. this poges lor the cornuerl•"'""
depends on your wishes).
Nunib$1'8 !hat erx:J <'Jeata the work"
Even ~the work doesn't gel recommended,
t•n be diVIded by
you will lines out what aroas lo fix so rt WOI\'l
8 1i~e 16, 24, 32
be a waste of time.
are lhe $tanr.!ard
I lUmber of pages.
The- pub!isl~s
wan~ 10 ~eef1 th(:

If JXll>-:;dbl!::, 011"
The reason is because
32 page work pet
if t11a works am long. !\'ley 8t9
rnonlh ~~ a rougn
afra.d you might give up and
draft peroocl is wan1
gllet\ ltlen o~ you to do
WOrk fftlery two the work
months). Ill a shon

120
 If
flatroet' 11160 ~ MO
rrom>s on one 60 paye ..~ the edrtor ~· This kid iS
llflM'UlQ a 11100Ul cr• a 32 recogtize yotx WIISng 10 do
r.age wooks '""""" 'o< more COIT1ml1ment, the wcm-1
IIIM'>"'O I me It crali41Q
1reat you kindly
l
SIMeS
and offer
beOkllr>
support.

Always; suoor.lt yow wotl< to r1u samo pcrS(Jn, Gel tlleir busioGSS car11 at ~rst. ltaving the eaito( put
yout 111m\" ><I~• a lace can boa plus 100. (For example, 111e eailor mlglll throw )IOU oome wmk.\

It your work tmprovas, >•'MI H•~ It tt·•

edllor moght let you work vae ta1k!t!'! ;.~W>ut! Ym·nol,itu
Next time,
brfng a o« rougl1 drafts or if you
rough Wish, he wftl helP firid you a
dr!'ltr JOb"" "" -tant to a pro
ol<zrj manga artiSt.

If you gel thts tar. the

editors adviCe will But don't be
get stricter. Tough advico discouragadl
is evidence
the ed~or
Cautionary Guidelines
AdV•ce from editors wtll w<lhotn a r:touot
give you hints. Dut toey are not
I.Jstening only to P'ofessoOOals whose ,obis to make
the editor's advictl manga stones Interesting
em aso ma~e101
easy talure

Wvr ~o~er·
why i1~ I··
I~" Cl-il•

This being loklng the advice

as word and fixing 1110
contents or Lhc manoa as
dtrecteo.
-IT¥ 11 $CRIIIIllE-~

.. .. .. ... .. ... ..
• • • .. • • • 0

•
. . . .. . . . .
•
•
•
•
•
0
•
•
•
t
0
•
•
•
•

' . .. . . ; • • • 0

.. . . . •
..
t
0
•
•
'
•
•
•

. . . . . ..
...' ............... ... '' ....
• <o • • • •
o o o o I 0

' . . ..

.. ..' .. .' ... ..

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• 0 • • • •

. .. .. ..
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At times w~e till.;, cnange yo.Jr

feelings and get refreshoo. RelaX
your mind a"d enjoy the
sceneryI

--~ dlsnoortened in
But getting your work into a
book Is the easy part.
Huh'?
But continv1ng to And a chEr~ce 10 clo
subrnn your Work 11 book Wi I corne.
without be
these troubling
tln;es Will surely get
you the talent prne.
I've"~" hevc ..
tftJ&rl 00
!'our ~ho,• lolefr The hard parl ts
rigl-rt? after you get
When tne wot1d publiShod.
(ll'.ade<sl says you're
rot tnte~eslirlg. you You w....r~n'1 rt·
w~ Juqge.d to oe 'lOt thtt t.•Vf!l.llt.~ri·ky
popular wh1ch
means you can'! get
afYo/ MIN work ~j9.
serial flkllt"'C<:It.
But, don't work about
failing once or a hundred
times! The people that
were able to get over the
failure are the ones who
".....,,b.ecame manga pros.
 And now a
rew won:&
lrom Egaki
Sensei ...

fl'1"/.;)1;,
n~-1lE

Woll ..•hore
are at

I
I would like we
the end of Thank you all
to say just
one thing.
lhe book for reading Mw1-.~ IG..
tl1ls oookl
_,1

.....................
~

Pleas.e try
.........
0 • • •
Good luck!
I'll be rootin9
drawing manga
..nd a.pply all the

... knowledge you

' • • • 0

•
..
0
0
•
•
~
•
0 for you!!
• • 0 0
teamed. You
can't improve If
you don't draw!

Jane!
Bye-bye!!
ISBN 4 ·88996·0 45 · 7