THE SOCIETY FOR THE STUDY OF MANGA TECHNIQUESMAGA Compiling Application and PracticeTable of Contents The Aim of Volume 3........ For Whom Comics are Drawn...... Chapter 1 - How to Draw Interiors and Exteriors Drawing Simple Objects... Putting Characters into Scenes and Drawing Background A Word on Actual Living Spaces .... Drawing Buildings ... Background Checkpoints... Drawing Backgrounds from Photographs Effective Management of Street Scenes... Special Edition: Using Black... Chapter 2 - How to Draw Machines .. Drawing Machines. Drawing Cars... Drawing Motorcycles .... Drawing Colossal, Complex Machines Drawing Your Own Original Machines. More on Drawing Imaginary Machines... Spattering.... Chapter 3 - How to Draw Nature and Animals Expressing Natural Objects .. Expressing Trees and Grass .. Expressing Racks and Boulders...sing Fire and Smoke ig Explosions...... Imaginary Animals cial Edition: Using White. g Natural Objects and Effects ..... 4 - How to Create a Short Story Manga... a Short Story Manga... g the Number of Characters. Story Themes - Keeping it Simple 1g an Original Work .... ig Pages from the Script to the Manga g the Right Number of Pages... ‘Characters Life. Characters on the Page g the Composition... me Structure in a Spread Layout ... tting the Story Rolling...... ice on Drawing Pages for Submission to Publishers. \ds to Becoming a Manga Artist..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 in “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 | 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. possible however, dv to the lack of Spaoe,n same cases Not: Works rlerenced in his book have been recreate to ook ihe the agin as Dest as i ofering to he works as published in thor oa ‘ners have baan greatly reducad in le. For further study f mare compte deta, we ecammen ‘owns.Hole :The MANGA from P.7 to P.23 in this book are in their original layout. Please read from right to left. n and Drawn by liko Matsumoto @ manga characters fictions, No identification th actual persons is ded or should beIt'snot too 3 J expected as much to get a pretty hard-core opinion ‘of my work but...Jes, what a shock! | didn't think I was that bad. All right! Pil show them next time!! Guess this is ‘what to expect the first time show your work toa publisher. Viljust have to= NI IT] | J » K, -_ 4 drawl!About a funny guy! You know with gags. = Yeah, gags...that's the ticket! Something REALLY knock your socks offit! You gotta have jokes! Keep'em laughing! Wh-who's = Acute onel! 2 Ya know, a hero story. Finally listening are you? Action packed!THAT is the voice of the READERS... they all LOVE reading manga!# 4| Didn't | just tell you wi readers want?!?And you still I've racked | || can't draw... my brain on But when | put it down on the page, it’s just... entertains people... It’s hard to put my finger on it... Hey...can you show me your rough draft?‘What's your impression? I think | know your Boring. You're nat having fun.Yeah right! Okay I'ma boring guy. Of course... Did you have loads of fun drawing that? Was it a good AYou're right. All| was thinking about was really showing the publisher and becoming a pro at all costs, Pros face the same hardships. Yeah, | see your point, Think about things like, Or how about ‘something unexpected like this. If you think like that, you'll f And then take that feeling of. ‘enjoyment and pour it on to the page as \, you draw.little lacy! Thanks qexes egeee be gone. | feel like I'll celebration as my way The tension in my ‘shoulders seems to be able to enjoy ‘myself when | draw. | So how \ about alittle || of saying thanks! ee ee ee YS ee |— Guess I'll be going. Sometimes you have to gonna stay while | draw? oro sabe NY, Whaaat! ae thought you guys showed up in pinch situations. You know, deadlines and }_ slumps. Oh that's a lie. Everybody works at it! If you're gonna be a pro, get used to it.Guess I'll wash my face... little mark from lipstick and some beer inside!? 20I knew it, Allright then little tady!! 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 4 pro doesn’t mean he was making a ivi He had other, various difficulties. But that's another story...How did you enjoy the And | am his show? assistant, Allow me to introduce myself. I'm manga artist, Egaki. Alittle heartfelt Today's episode was a reenactment of something that happened to me ten years ago. What do you think? Pretty good huh? gotta be joking!!We interrupt this broadcast to bring you the news... Moving right along..."How to Draw MANGA Volume 3” is brought to you by this little lady, that ald man ‘e) Well, looks like this could go on forever, so let's get back to the main Sensei, do} you have any thing to add?z a Try drawing a centerline for bisymmetrical objects. As an example, try drawing a glass. irst, simply give it shape @ Nex, find and set the centerline. — i!) Ne ! Be a ® @ Look at the centerline and @ If things aren't going so while paying attention to the well, try drawing a box of bisymmetrical balance, tidy up perspective lines and the shape. rethink the work from there @ For reflections, extend the @ Ht you can't draw ellipses well, and if itis an ellipse viewed box of perspective lines {rom the front, one method is to draw a cross in a trapezoid and think from there. and then connect the points forming a diamond shape and : Use that as a yardstick for drawing the ellipse. Use this area as a yardstick to tidy up the shape of the ellipse T= SZ Note that the oy method of thinking [Sn ed viewed from a diagonal angle 26 — see dotted line.B dice the outline is complete, do it in pen, Give shape to that do not need to be inked with a blue pencif and use that as a yardstick for attaching tones, @ The key point in this drawing Is probably the tone management in the reflection. The first point of caution is to attach a dark, deep in colar tone before all else iv | \ \ { i wa @ Next, once a light, pale tone is added on top of the dark, deep tone, etch at a point slightly off the border and line it up with the border of the first tone. Fundamentally, drawn to show the bisymmetrical balance. Their use can be extended to cases using human figures and showing the } bisymmetrical area of } objects and spaces.‘When putting characters into scenes and drawing backgrounds, put the principle of placing the character inside a perspective into practice. First, give , | shape to the area of the space, area *) and the sizes of the character [L_] you want to draw. the box space of your character, Draw the box ina freehand _| style while looking at ‘the overall balance. (@ Whe tong athe balance ofthe bax lines, decide 00 the yo ov, Stat off dong freehand, and ten later ose a rl to pt things in ore. 28 Into Using the box, the ‘eye-level! (horizontal fine and vanishing points.all ‘Alter putting the perspective @ oo inna P make up the basics, draw asi you ae placing 7A objects into the scene using those 1 tines as A) | yardstil while ©. /} thinking about ji ‘the sizeof the sharacte. the unseen Lines used for thinking bout the posttional relationship of the tolevision and When you have added too ‘many lines or are unable to the character When you. want to keep the || necessary sae necessary + lines, tidy up i by erasing | LAL] unnesced ines. Using a pen toe = ccomwenient for smal debcale Use sry number of perspective ies ap neces T | vanishing points lines in tact and erase unneeded lines, cover the necessary lines with a plece of paper and {go over the area with an eraser. After freehanding the background, tidy up the with a ruler and finish outlining. Placing 2 ‘thumbtack in the vanishing points helps: 29Next, do the inking. The basics of pen inking the lines Be careful not to draw the same kind of ‘that make up the shape are to draw the outer outlines ‘monotonic lines. on the thick side and the inner lines on the thin side. good example bad example Complete the work, adding peninking. i A key point, WALTER The key point nere isthe areas drawn in blac, iv ation, use Deal with the books and other things in the nookstelt black for shadows and the tke, Keep in mind that you are using a fine-point pen giving the objects an actual likening, actually drawing the space and nat merely filing in the shadow. It fs gaod idea to shaw the richness of the lines by handling the deta tke in the above ilustration. View a variety of drawings and try researching an your ann, 30tn ha shacows, Adding tones finishes off the ‘work. The key point here is the shadows added by the tones. Since shadows have light and ark colors in ‘them, pay attention to their | usage. I T z ‘As abasic rule, ig : ! think of = perspective from the character's point of view and then consider backgrounds. using the same rule for exterior soenes. Up till now we have advanced up through the basics of using one or two vanishing points; however, in actual living spaces there are numerous vanishing points and taking these from an eye-level would take along, long time. In addition, the character itself is not always just standing still. When there is a lot of action, you can’t line up the background perspective with the same direction of the characters. 3Draw as if you are placing an objed (on the ground in the scene 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 ofa piece of white paper, consider the ‘space of the walls, the ground and the floor. For Lesson 2, Keeping those nsider various images in mind, 2 . fh fil in the white eal space by imaging objects and the space and character when copying the viewed from a images into it. television screen or the four-sided images as seen through a camera viewfinder. E SEAL | V2 4 At first, you might not be able to imagine objects that yo see every day, but hang in there and keep drawing. While perspective is an important concept, it's not like you are drawing blueprints or anything so set a higher value on what looks goods as opposed to what is exact. 32Add in the outlines getting the perspective from the main “| building. Once the Outlining is done, add in the pen inking. Then, “, | complete | the work by adding tones for shadows y-7| and the like.[Background Checkp | feamnor be omits. sheee characters, \ \\ lf something has to 90, the only thing to omit is the number of characters. Ouch! My back | Making many characters is Ina word, a few crack Ft sultabe for short stories, characters are desirable for Creating a short story. What abour uel? Leaving 60 soon? 95While the rule ~ tha less charactors the better ~ holds tue, Your . . | ty if the characters don't have something that will fascinate the fy readers, they won't Aa anos tormuch a” a / too norm and unsurprisi watishe | wand ioc | (/ + | wal purpose? +S What kind of Le personality? Bey er eed Cec Ait Ce ea ea Dee tee re Itis your job to decide what kind of character to create! Good luck,Take a look at the following example using a few crack A, characters like Mornotarco, alittle lonely and The familiar alittle short on things to direct visually. monkey and pheasant characters as well as the old man and old woman characters can enter the seene but...Itis best to think of these as props to visually explain Momotaroo's world These characters then appear as part of the Momotaroo episode. 98 Anice couple found Momotaroo inside a peach — ‘momo’ in Japanese - by the| river and raised him as their own. “N The litle sidekicks, that are lured by dumplings and follow him to battle Pleasant. ‘Alin al, Momotaroo and the o ogre should be the ones that stand out ‘prominently This is what is meant by a few crack characters. Journeys,ae ‘Short Story Themes Keeping it Simple The theme is the ‘character as he ought to be’ which runs through the center of the storyline, deteating a Avoid big themes powerful villain if possible with —Killler! short stories. and the like. Abig theme ae ; would be < | something like \ becoming the . strongest manin the world or Ifthe theme Is becoming the strongest man in the world then the character must defeat several other characters, which doesn't make for a short story: detested chartes For exampe, confessing ‘one's love fo someone or defeating one’s (one and ‘only one} ral are tales with only a few characters. When the rrumber of characters is limited trom the ‘beginning, the themes are ralurly gare fr short siotes So what kind of themes are rea Aline ater oriented toward charactors fee waitog in ine SHOT stories to font the SIGH TZ wa f & (The topic of gerves ~< will have to be » y) abridged for now! 2 Like don't blame me okay.Simply write down the scenes and episodes you Drawing an Original wor Then With the following formula in With the previously mind At this time, a introduced fundamental want (an outline ea vague image of guidelines in mind, try Past (reason) + fone ea is also creating your own Present (event) = character end permissible). theme should become evident. original work, First, think | Future (outcome) ‘about the plot. summarize the overall contents into a synopsis thus creating the foundation of the story. This document is known as your plot outline, How to Organize the Naxt consider your | Elements. “Pe eevee 8 Chereotats Organize the elements only include 5 characters tat | Then, inerveave your | ile-consigsng he support the characters with the | most ghining examples of storyline soenariorend visual direction and iecompose the foreshadowing, storyline. For example, CINDERELLA is a story about a girl with two wicked stepsisters who cause her a lot of grief and..., hate | nied a m8 | Cinder ends a AY _} cpbeasig ee ile wih foc fetish?) prince, ‘The past {teason) is Cinderela being abused daly by the stenssters and roaming of one day going fo the bal. The present (events the aval her fairy godmother making going to a ball areairy. The fue foutcome) is her becoming lnvalved withthe princeNote: A catharsis style tala is one whore tragedy continues vith the outcome concluding into & happy ending, “This catharsis style story is a so-called tlassic containing a climactic last scene J] hich is seen in many works. A climax is defined as the high point of the story where all the previous scenes and Rewrite anything foreshadowing build and sen us you think the story is / towards and the theme of oa ctivaly the story is expressed in \ interesting at the its most clear form. plot outina level Therefore, when considering scenes, they | must not be detached from the theme. A short ‘story cannot afford “fi detours in the storyline. y | The word ‘foreshadowing’ was "Wed earlier, This is when something that ‘will occur in the latter-haif of the story | és inficted upon the character earlier in the story. Foreshadowing is Used in the folowing © way in Cinderella, foreshadowing Crops aint by saying that A something wit ccccur when the clock siikes rmicight I"ve only got three hours!! 101[Allotting pages irc ito the Manga It is important to consider the Add scene settings and dialogue type of speech to the plot outline to complete suitable for each character, your script. Allotting Pages Take the story of Momotaroo Divide off the script into | fr example, one-episode scenes An old women wile doing laundry at the riverbank picks up a giant each, which oats by. This is scene one. { Next, allot paris of I think itis the script easier to do to the this now than manga at the plot pages. outline level Then the scenery ‘changes. She brings the Peach home and alittle boy appears. Up to here is one more scene. Prediczable: 102If you use over five pages per scene for a 32-page short story, there wil not be room tor the other scenes. one scene as ‘one to four pages as a rule of | We'll make omissions to the Getting the Right Number of | ft Momotaroo story by Pages \ removing the scenes where To get the aight number of the peach is found and cut pages make abbreviations and omissions to the script when Scenes are too detailed or too long or too much has been written to explain something pedestrian. ‘yielding the following results: Even without the above two scenes, the storyline works and can be convayed to the reader, The old woman fotices a floating peach. Finally we cut to the boy coming out, Then we cut to the scene at the house. 103However, if omissions are mad to the part expressing ‘the theme or the throughlines in the script, you won't be abla ‘to convey what you want to ‘the reader. Omission is a means to get the important parts of the story on the page and by no means intended to thin out the storyline, You don't have to shaw it to me. Look, a hachee mark ‘Fundamental The general Frame Rules rule for the: flow of th Based on the frames in script, consider | Japanese manga is the spread of the right to let frames us composition paper. Following this basic knowledge of flow, strange shaped frames can be created. The most important thing to consider is whether or not the frames are easy to read. The reason is smpla! This Is because it folows the same rule 88 when verticaly written Japanese Aligning the pictures with this flow makes the frames easy to see, The flow is For Japanesa manga, the flow is right to let right to left and top to bottom. The number of frames per page should be six or saven at most.compositions. low angle composition eye-level composition high angle ‘composition scene shat (master shot) abasic rule, reader in an -to-understand iner the lowing: who, lat, when, where. close up shot 105By using a full-shot The drawing on the [teem or ES) = with the characters, right is an easy-to- a} the entire situation understand tacoma I i] can be understood in composition. acorn sis {) one viewing. Then, compose the frame 0 not to be monotonous using up-shots for any Fal characters, =U emotions, objects or The dialogue is used well and the situation is visually directed areas you want to in an understandable manner. emphasize, As fundamental composition example, In the second frame, show the time and place with a full scene shot. Since the > students are carrying ‘on in the hallway, we understand that they are between classes. show the place in the first frame. Move to an up-shot in the third frame and inform the reader of the character you want to show. lon no! In the fourth frame, move back to a full < scene shot showing the overall ‘condition. As a word of caution, be careful not to draw all the frames from the same fixed angle as it makes for a monotonous composition ‘Shviok! 106THUMMPII Depending on the First, start off with a full scene shot to: direction, the way %® explain the positional relationship of the ; characters of advancing the frames differs. The general rules are: % show character movement from place to place % show when the setting has changed. Whenever there is a change in setting or something has happened, the full scene Shot is a composition you will surely want to use The scenery in With each scene you the establishing Want to have at least one establishing shot shot should have frame, The scenery in asignaling effect tha establishing shot ying the scene should not simply be has changed, buildings, streets or nature. Try devising Various set-ups more lke the establishing shat from the second frame in the previous example. + previous scene next scene Midway through the page if the previous scene ends, insert an establishing shat to ; give continuity to the next Gonsidering scene, the Visual Direction of beng , Close-ups are Shot reserved for a. things difficutt to Tie abk explain with a out the small drawing, For example, if you want to craw a picture showing the direction of a ose scoo ust show he bulang re S025 rot Coney the stuaton, Something is missing * IF at most you establishing 5 follow these shot and é rules to a bare explain the é minimum, you situation at will be able to compose easily understandable drawings. this old thing? Showing the students a the school saying” yood main! back and fart corveys the stustion wel Consider ile dretonal prints ike this too, 107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. ‘Obake’ is a method ‘or expressing the speed of movernent by deforming the afterimage, 108‘SHUFFLE-SHUFFLE GRIT! Written text | conveys ‘And last but delicate and not least, continuous one cannot movements, neglect the Psychological written text. descriptions and allows the reader to imagine things like the force, In anime, there are pictures with set poses called “genga’ in Japanese. the next page use a method similar to anime to show: continuous. movement. 109Just ike in anime, manga makes use of genga(ariginal drawing) by lining up two frames. By doing this, the two frames are connested allowing the reader to imagine movernent. While a. for allotting frames the frames do not have to be the same size lke in the frames above. for movernent is to line up two frames allowing the reader to imagine the movement, example, this frame is small even if you change the size or the composition of this next frame it shows continuity with the previous frame and the reader can understand my 110Three Frame Continuous Movement ‘UH ARAPY i i Naki =F For example, _ take a scene Making the Reader |magine Movement with Frame Composition w=) ] tak the tak L but you ‘where the bearded man tries to protect his daughter. The idea of movernent can be conveyed by moving the frame and using written text. In this case, showng the temation in the git's Face lets the viewer imagine the terre Nature of the fight es variety of composition movement out there, Try studying your favorite manga stories and fims, y There is a wide iBalancing the Composition ‘han you te While this can depend manga, you wil notice that even though thee r oy ie Bye ot ie |s a great deal of white ‘work, the real. reason spave ~ 'yohak' in is that the three-point Japanese —in some \ (triangular) partitioning works the sompesition 's balanced ana the use of whta space is alle technique, Three-point partitioning is. Tako a look at the following drawings. The first drawing is strangely unstable. When a picture frame is addled to accent the white space, now the drawing |] looks stable, Stability can be achieved by Keep this forming a trlangle general rule in like in the mind for now, following drawing. This is three-point partitioning,Put more simply, itis a method for adding stability by accenting white areas. All you have to do is to add things like the dialogue balloon, clouds and tree branches in the folowing drawings. This is enough to make the drawing look more stable. Three-point partitioning is at most just a basic rule. Don’t worry about it tao much and try to keep your drawings from becoming too confusedNo matter how good the story is or beautiful the pictures are, if the frame allotment is not good, the work will loose its appeal. The size of 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 7 elements bring the frame allotment to life in figure 2. One basic rule is to avoid similar layouts on adjoining pages. Lad throat - ‘nodo’ in Japanese Be sure and avoid placing blocked frames on the throat of the page. If you can't avoid it, do not include dialogue balloons and other areas you want to display on the throat. Tao much text is not good. Even if exposition is required, try to keep it to. a minimum. Since frame allotment is one technique for skillfully displaying the drawings, I'll ‘teach you properly,\eeeeen | tend te view igcieeeeee is the correct answer. Japanese manga ‘magazines close on This can affect the impact of each page and \ ZP” way people hod drawing you manga; no one want to show off knows the real most in. position Nn. B when creating g- SSS, om Japanese — mang pt, surely there are pages that won't work out ike this, / but try your best A toinclude frame YE allotment that makes reaciers want more. Positicny AviSfor showing the results, Ideall, Position’ O fs forplacihg pictures tal, make Sethe Teades, want'to” -réad more.-_ | | ___ Getting the Story Rolling | The introduction is the ‘hook’ of your story. Try Getting the story rolling with the script and _ visuals (including frame allotment). First of all, the following must be conveyed to the reader: who is the main character, what is the setting and world. As a general tule, the main character appears in the beginning; characters. gossiping about the main character is enough to give him existence, ‘that is absolutely if1may be allow | physical being true but... SERED does not have to What | car eat 's sometir be shown. For heated: example, ‘from the start, Nodoutt he minds In ohe work. as she flips through the first four pages of the Ideally, tis best to think of this as a gratuity scene that catches the reader's eyeifthe oll on your hands stioks to the page, it will cause blots when ‘the inking is done. Batore handling the pages, be sure and wash your hands. Draw dialogue bballoons a little on the large side. Draw large Japanese characters for with volume fke loud yoices and screams For youth magazine, leave space between the lines for phonetic readings of Japanese characters - ‘furigana’ in Japanese. Romember to lay a piece of paper under the hand that holds the pen. ‘iso, keeping oil off the page prevents penciled lines from being too light and getting dirty. The standard size of text in Japanese manga dialogue balloons is 0.5 om by 0.5 Oc Od em(0.Scm is approx. 0.2 in) Ooo per lettar with about seven 54 “Japanese characters per ine. J J arecta => seven Japanese characters Od oo rT s Use a balloon and lettering ternplate (as shown below) ff you have some uneasiness about the size of the characters or the fonts often used in Japanese manga Antique Naaru D space between the Minchoo lines. Gothicei a een} Ici Rta eat} | Use tracing paper to do First, lay the tracing | | For a reverse effect, biock out the | | these effects. paper over the frame in red and write ‘reversed out | page. white’ on the tracing paper. When the manga is For laying text over the published, the publisher Finally, do not tones, lay tracing paper will put it in for you so write the title in over the desired area and beleive andl wie the efi on the: write out the text, title in pencil cover sheet.Take your work directly to the actualy, + taking your an publisher and have an editor ‘wore io new talent read your manga. Then, ask for them is ‘competitions some advice, recommen cporwored Ey. ded, each of the This is a good ‘publishers is a character! ood idea, but a D ! 12s Be sure and make an appiniment over the phone before visting the publisher =| Cautionary Guidelines Part 1 EY First of al, the number oF pages for the competitions is decided by each pubiisher, Follow ther rules Numbers that and create the work. ‘oan be divided by Bike 16, 24, 32 are the standard number of pages. The publishers want te keep the umber of pages Ifthe work is good enough, the editor will judge the work and recommend it for the new talent competition. (Of course, this depends on your wishes). Even if the work doesn't get recommended, you will ind out what areas to fix so it won't be a waste of time. If possible, one 82 page work per month (if a rough The reason is because if the works are long, they are afraid you might give up and oan YOU TIGHT Give: Up. draft period is they want given then one you to do work every two the work. months) in a short aime. It you seriously visit them in @ short period af time, Father than spending two months on one 60 page work, spending a month an a 32 page works makes for more Teaming time in crating the editor will recognize your commitment, treat you kindly and offer backup support This kid is willing to do the work! your name with a face cam be a plus to, (Far example, the editor might thraw you Same work) If your work improves, Sensell Here is the person | ‘the editor might let you work jas talking about! Yorashiul off rough drafts or if you ‘wish, he will help find you a job as an assistant to a pro manga artist. Hf you get this far, the editor's advice will But don't be get silcter Tough advice discouraged! is evidence the editor sees some This is completely PUUUFF!Cautionary Guidelines Listening only to the editor's advioe can also make for easy failure. as word and fixing the directed. u y yy a This being taking the advice contents of the manga as. ‘Advice from editors will without a doubt give you hints, but they are nat professionals whose job is to make manga stories interesting, ‘At times like this, change your feelings and got refreshed. Relax your mind and enjay theAnd a chance to do Ty wt | But continuing to \ a book will corne. tl submit your work without be: Gisheartened in these troubling times wil surely get you the talent prize. But getting your work into a book is the easy part Your shoulder The hard part is right? Le ji after you get When the world 1 publishad. (readers) says you're not interesting, you are judged to be not You weren't ir wo os lee ‘the popularity ee a whi oe te ee pe get eat any new work (ie. serial mange)’ |) 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 became manga pros. ~~] ;So how did you enjoy Volume 8 of How to Draw | f thardy got \ Japanese to make an appearance. Well...here , t Iw ike vse al. || seit yousll to say just one thing. Wes book That's all the time we have folks! Good luck! "ll be rooting for youl! Jane! Bye-bye!! Please try drawing manga and apply all the knowledge you learned. You can’t improve if you don't draw!ISBN 4-8899b-045-7 IH 9 6