4 | Walechiniques) voOlugne BeginmersandiBeyon THE SOCIETY FOR THE STUDY OF MANGA TECHNIQUESMANGA 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 Rocks and Boulders...Imaginary Animals Edition: Using White g Natural Objects and Effects ..... er 4 - How to Create a Short Story Manga a Short Story Manga... g the Number of Characters. rt Story Themes - Keeping it Simple ing an Original Work ... ing Pages from the Script to the Manga the Right Number of Pages... al Frame Rules ... g Characters on the Page ing the Composition. ne Structure in a Spread Layout ..... it Scenes ...... g the Story Rolling...... vice on Drawing Pages for Submission to Publishers. ods 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. pecsible; however, due tothe lack of save, some cas oto: Works referenced in hs book have been recreate to ook tke the eign as est 8 1 uring to he works as published in thor ora ‘norks have bean greatly reducad in ie. For further study of mare comple deta, ws recommen ‘owns,ole ‘The MANGA from P7 to P.23 in this Book are in their original layout. Please read from right to left. and Drawn by liko Matsumoto manga characters it appear in this book @ fictions. No identification or should be La éffin = A ee' f ; a a It’s not too bad but... 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. It's hard to pl my finger on Guess this is ‘what to expect the first time show your work toa publisher. FilJust have to All right! Pil show them next time!! tryharder, fo h . . 4 esse ee) aR nes Z° Something REALLY cutel! knock your socks offil! About a funny guy! = You knew with gags. Yeah, gags...that’s the ticket! Wh-who’s, Finally listening are have jokes! Keep'em Jaughing!! Ya know, a hero story.THAT is the voice of the READERS... they all LOVE reading mangal z & 2 =8. 3 gz = es 2 bi oO Didn’t | just tell you what the readers want?!?And you still I've racked my brain on =| how to S| inake it interesting. But when | put it down on the page, it’s just... It’s hard to put my finger on it...‘What's your ‘impression? The reason you can't Boring. You're not having fun, I think | know your problem.Yeah right! Okay I'ma boring guy. Of course... drawing that? Was it a good g 5 £ 3 3 S 2 a loads of fun fun drawing, in others? are notune fy i: soo. ao a You're right. All| was thinking about was really showing the publisher and becoming a pro ae os leer But the Pros face the same hardships. Yeah, | see your point, Or how about something unexpected like this. If you think like that, you'll And then take” | that feeling of ‘enjoyment and pour it on to the page as ‘you draw.The tension in my shoulders seems to be gone. I feel like I'l be able to enjoy myself when | draw. So how about a little Celebration as my way of saying Thanks little lady!As AZ : = 5) 4 yo © Guess I'l 0 = be going. Sometimes you have to / 1 (Ste erble bey WY Whaaat! ¥ 4 Ithought you guys showed up in pinch You're not gonna stay while | situations. You know, Oh that’s a lie. Everybody works at it! If you're gonna | bea pro, get used to it.| BOOING! .little mark from lipstick and some beer inside!? 20 Guess I'll wash my face...I knew it, All right then little lady! First things first. I'l 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 ‘@ pro doesn't mean he was making a living. He had other, various ___| difficulties. But that's another story...And | am his assistant, How did you enjoy the show? Allow me to introduce myself. I'm manga artist, Egaki. A litte Today's episode was heartfett a reenactment of something that happened to me ten years ago. What do you think? Pretty gotta be good huh? 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 Well, looks like this could go ; on forever, so = Iet’s get back to the main Sensei, do you have any thing to add?@ Next, find and set the centerline. wy \ ~. @ 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 @ It you can't draw ellipses well, and if itis an ellipse viewed box of perspective lines from 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 L= | building. Once the outlining is done, add in the pen inking. Then, :, | complete the work by adding tones for shadows -| and the like,Background Checkp | < | your head. Next, with th . rough shape, if you atta . detailed accessories ang > view several reference photographs, you can di what you want at will.3 position, 7 ar axis, ee, eS Top eeenrs Se you attach | sories and yu can raw tat will. t, with the ference he overall pu can then © eat will i yo|More on Dra 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 occupied. When viewing large frames up close, itis a little difficult to tel if the design is off or nat. By looking at the page many times from a distance, it is easier to understand the overall layout and you can check your work. Finally, turn the page over, hold it to the light and views it 58e Said it once, ve said it one id times, when ng outlines, soundly ak out the unseen gas. With complex is, if there are too many lines in the added too many lines, go over ‘thern with an page. Then, draw the unseen areas separately the tracing paper. ext, place the tracing r under the page nd using a light box trace the seen areas. If the tracing paper over the picture and mi the unseen areas. Then, place the tracing paper under the picture and draw only the areas that are visible as seen through the light box. 59For little items like in the drawing on the right \ \ @ Set up the area that @ While aligning the wil act as a yarcistick. perspective, set th centerline and the erie: unseen area. consider the lines that will No matter how easy the give shape item may seem, be sure: to the three- | and soundly think it dimensional through. The flow of ths figure. kind of drawing can be applied to most materials @ Tidy up the shape and finish off with outining, Then, pen In the inking and add black. The pens used here are: a G-pen for the machine and a round pen for the buildings, The key point here is the destroyed sections of the building. In order to draw realistic destruction scenes, it is necessary to know something about the structure of the destroyed ‘objects and consider what Kind of reaction will occur when a certain force is applied, 60Attach tones. The key point in this drawing is the way the clouds are toned. @ Using a Letraset 61 tone and the like, attached one page of a 10% deep tone by thinking of each cloud as independent from the others. Outline them with a blue peneil and etch in detail with the flat part of a cutter. page.Handling Transparent Areas @ Ajter attaching the tones, draw the inner outining with white. — neo Tala ent” mu fs Next, attach a white tone to complete the work‘After attaching the tone, put @ First, use masking tape to @ Apply as little glue as "the finishing touches on the cover unwanted areas. While possible. If you don't, the ‘work with some spattering, there is special paper tone peels off and the page available on the market for will get wet. If you apply too this type of work, in this case much glue, wipe it off with a the back of a tone sheet is tissue paper. used and spray glue is applied. Checkpoint This drawing uses the same gradation tone in a layering effect. ? @ Go for a gradation effect when spattering the white,lExpressing Small Props The most difficult part about drawing small props is probably the comparison and contrast, with human figures, Apply the same design methods that you have been using up until now. One thing to be careful of is the size of ‘the props. While it does depend on the build of the character, try to draw small props a bit on the large side. You may notice that you have drawn the prop on the small side making it look cheap and fimsy ruining the drawing you have worked so hard to create, This is a common mistake so be careful. Use perspective here. 64Chapter 3 low to Draw Nature and AnimalsFrc Drawing nature is extremely 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 enough like nature, Expressing Trees and srs] 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. fo aus gp Fu, Take for example a withered tree, Drawing A leaves gather at 66 the end of the branchesThe thinking behind Drawing Bis that pen touches are added to the shaded areas of the tree. Sometimes the entire tree can be treated with black, The first simple and easy method to handle this is to use pen touches. Drawing 8 "a i i i Itis also a good idea to Adding black to the think about the contrast shadow areas is also of the colors in the a good idea. shadows. The key to handling the black is to be aware of the how \ \ the black is applied VY to the tip of the ff SA f loaves and the J Mon w openings between AY the leaves that can = fp be seen in the offshoots from the branch. Try drawing while thinking about the fundamental mechanisms involved, a7Using effects like double pass horizontal lines skilfully used in thickets of trees and grass can inorease your variations and render effects like an oll painting, Considering the Trunk Simply speaking, consider Since the trunk of a tee is gradiaion effects and how to cylindrical in nature, be sure ‘apply them and raw it s0 it doesn’t look flat when applying | ‘|, management techniques. An example is given on the right on how fo manage the | technique of bringing out the =| sense of three-dimensionalily | in the tree, { : i i When applying pen techniques to the overall form, keep the gradation effect in mind. Finally, consider adding branches: that look like real tree branches and draw. Adding vertical lines ig also effective. 68drawing woods and rests, the easy part is atis up front and the it part is what is in back. Drawing all the ‘would be quite an aking andi difficult to iprehend. @1 f you draw everything T, the drawing could up being confused and pal iscuous; thus, it is to handle back areas @ double pass lines es going for a emblance than actual jawing Leaves and Grass 2. Then, dew an and grass have two sides intersecting Curved ne depending on the angle, you / - ie ft want to show the a wa Asa basic rule, / \ sider and draw leaves and [ | | | $5 lke the illustration on the | | | \ v 1. First, using a 3. Firmly draw 4. Draws the ight bassline drew the shape ‘and let sides the fow of the bby ining up leaf as the right the basolines, and loft sos of leaves andi grass are syrmmatic. fe grass is a large sized aing, the principles tor ™ WG leaves can be applied, \ \ \ 3 P ; ¢ \ \ : po} dh Drawing A ! 1. Draw the 2. Draw the 3. Tidy up As for the case of weeds, flow of” peak. the the basic schoo! of thinking the grass. shape. is represented in Drawin, A, Then all you have to do is just make Drawing A somewhat more 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 exist. In order to bring out the place, environment and atmosphere, it is necessary to remember several management methods. Rocks in rivers and oceans are worn down by the flow of the water and the surface of then becomes smoot, 70First of all, the water ‘As the wave breaks, the foam rises up in the quickly rises and the white direction of the force. water increases. aT The water rises and As the wave breaks, the foamed as it reaches a peak, up area splits and widens to the the foam rises, left and right. 71A large amount of foam, which emerges from the waves, floats on top near the shore resembling the mesh of a fishing net. Expressing waves also changes with the situation. Express fasting moving spraying i with pen touches. Technique Point The character in the drawing on the right is the only place where pen work was added: the badkground was handled completely with tones. To make the drawing sound using only tones, the accent in the contrast needs to be firmly drawn To orate the foam in the wi carefully etch the drops in sheet one by one in deta se fit Layer the tones to create shadow,Depending on the Situation, the expression of water changes making it difficult to draw. In man in time, rast pert, tho expression of wator in ound has been intentionally Bais hanced by using lines. trast with tho white and existence of the water, © Nature Of it~ due to al menscn Of waar ) seem ‘i “ier Rerdrops tus! ard then spray. ary: ®tfpI6s on the ground makes It lor he gound is wet, it retiocts th Hor loud in the daytime, 0k tke rain, Also, hings lke the neon lights to keep forernost in your ming whan Cfawing rain is that whatever gets rained on gets et, ee Sorel nes to forget tad this effect when deawing fae water J] When rain falls on waler, ripples form and reflect light. In 1g, water is expressed as moving at a fixed momentGn the other hand, water is trangparent and when farce is applied, waves swimmingly form. Fundamentally, water flows from high places to low places; however, depending on the situation, consider ‘the different phenomena that occur in different situations when expressing water For example, pour ‘Add a litle light to the vl some water into a making it three-dimensio cup to the point that it almost overflows. The water seems to float on top of the cup and doesn't spill. The phenomenon here is known as surface tension. Surface tension Ny » also occurs in — water spilled on =i the floor, “The phenomenon of sure urs not oni 74Drawing A is a well-drawn example making use of scribbles Boressing Clouds f+ express clouds. Drawing A RELY Using Drawing A as a foundation, develop it making it more complex. | A ON 1@ Grawing on the right. Now consider which areas to make ; er ths ceawing on the basis of Drawing A, When using 2 pen to handle the effects, consider the flow of F ‘the clouds and make sure the pen touches da. nol become ‘0 monotonous. Also, think about the contrast of the shaclows and handle this by adding detailed ines. 75| Expressin Fre} | and Smoke Consider the phenomenon when a fire breaks out. Imagine what happens to the surroundings and think about how ‘to express this. Keep in mind things like heat, light and smoke When expressing the flow of the burning air with when you draw. pen touches, try not to draw the flow with too much monotony. yf « ‘The illustration on the SN Fire does things like 37/7 night represents the “w *) flowing with force | ) (| basic composition of Y } and swirling a large fire. Using this 9 4 depending on the S; as a base, use your 4 Cllow of the air. favorite management C CF J} methods to express & UY a the fire. re ( Ky 76Smoke can enguif | and swirl depending on the flow of the air. ‘spreading out Ma Use the illustration on the right as the basic composition of when thinking of expressing smoke. AS: Breaking down the drawing an the left into outlines, renders the drawing above,Explosions can be easily divided into two types, They are: 1) wind explosions from gunpowder and the like and 2) flame explosions from gases and gasoline. Wind explosions convey a sense of bursting open. Since they have the ability to put out fires, don't generally tend to cause fires and tend to destroy the surroundings. Flame explosions convey a sense of burning as the flames move to the surroundings and develop into larger tres.Learn the fundamentals for the qualities of movement and form from the drawings on ata the left. Then, develop your ideas and make your drawings more, complex, is that take place in the to be circular in shape, eA Conse the Rous hte ‘of wood and then draw, Express fragments and ie ty fining a litle whit, When showing the scale of the explosion, # you have something to use as a comparison, the size is easy to understand; however, the main point here is not to ‘show the size but to show the complexity of the explosion 79‘Draw in pelvis \V When doing your design, draw centerlines for viewing the flow of the body and the balance of the right and left sides. 80 Sometimes you may have to draw animals in 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 skeletal ‘structure of animals, centeriineSometimes you can't see certain . , parts depending Since gathering on 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. “The face of a feline skeloten is made up of triangles.Individual characteristics exist even in animal behavior. Observe them carefully bringing your drawings to life. Cats ooze pliability pushing out all over the entire drawing like some kind of fernale imagery. (mene A. dog in a ‘play with me! \\ pose. Dogs express fun and anger with their LS entire bodies. Don't \33" forget their iiveliness. Of course, older dogs are @ different story. Oider dogs tend to express gentleness allover, Large animals are appealing because of their profoundness and strength, Picture leisurely movement in your mind Set a high value on quick “bustling’ movement for smal birds and tiny animais.@s of Animals that Appear in Stories ol for animal oriented manga, for the mast part, animals usually play OF characters, Try imagining what kind of animal would be cast in a 3 For partner role animals. Inteligant animals tke dogs and birds ae often ‘sod, In some cases, they can communicate with humans Animals cast as villains’ pets express the villain as someone who wants ‘to own things. Vilains usvaly have slender animals ko longhaired cats, dogs lke Doberan pinschets and borers, beasts tke alligators and tigers in tow. In the case of women, they sometimes have reptiles: a5 pes. shaped like an eggplant\ Consider the solidity of the: unseen areas for each of these. lin used or positioning Sato shoulder For the head add a mouth othe crcutar ‘orm used to give sate ei The skeleton in Drawing A is feline. The mechanism of the movement of the mouth in the angie of the mouth when the mouth opens, as well as, the relationship of the position of the eyes and gills when the mouth is open, makes for good reference, 85Of course you can use reptiles or horses, etc, for reference too. It just so happens that the animal the artist is most familiar with is cats. The best advice is to practice drawing a variety of animals and species, The method applied in drawing the front leg was pattemed after a human hand. 86 Just like a cat, the head of a dragon can be construct from triangles.round pen use 108 the animals drawn imaginary, there is no ance the mechanisms {) \\ tinal movenent, t pbal structure and the Consider the building and light tone with the windows gradatedSpecial Edition: Using White Bienen | 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 tatami mat flooring, a building, light and margins in printed text. @ At times, you may need to adjust the amount of water by wiping ita bit. If there is too much water, wal balls form and do things like drip @ Dip the pen in water and = @ Without wiping off the from the pen and get under the: whip off any ink previously water, acid white to the ruler and if the ink is not in the pen. Then dip the pan tip with a brush. waterproof, it will blot the page. pen in the water again 88Diner times, i there is too litle water, it is @ Another method is to use white ink which avoids getting water on the page. Adding white directly on the page is okay too and easy to do. In addition, this is recommended for waterproofing ordinary black ink, touch-up pen Depending on the situation, a touch-up pen can also be used, #2 An easy method for drawing stars and =) fragments from explosions is to fling white B trom the edge of the bottle onto the page BESS Be careful of adjusting the amount of water. Another methad is to do things lie blow on the pen for a spaltering offect, AS a basio rule, before adding the effect ta the original page, test the effect on another piece of page and then go back to the original age. fal90 be used for adding light and outining text for seuWant to make the letters stand outing Nat For real objects and photographs, a The loud is a oud trees, isla no matter how boulders, cleus fasnes, fro, water and recognized clouds cespite aocordingly. looking at a However, this photograph there are tmes when you true for clouds can't draw drawn in thorn wal pictures, Countermeasures || The drawing has =~ anny, camsmess] distinctive features, ; 0 =_ In a word, what | utmost needs to be importantly it done is to make | 9auSes the majority of people to People think that | ecouect some kind Addrawing done by a child itis acloud, of fixed idea in their These figures minds. are no laughing matter, For the most part, humans tend to see things with a preconception. It is the artist's job to make use of these fixed ideas and preconceptions idea in the compo: rt is developed to yc tin, you should be able to people think that this _ isa cloud.Chapter 4 How to Create a Short Story MangaA story is something that is composed of a character and actions that the character brings about. KRRUNNNK! | you will notice that the majority of the stories are ‘series where At first, we'll create a short story. Reading the weekly manga magazines, Momotaroo! Looks: tke you're at a great disadvantage! fascinating characters appear.eyeseuey UeWpIO | fam grateful to all of you! tha story gets * bigger and more interesting but... alot ot | unresolved | episodes making for a hatf-inished, difficult to understand story. So why daes it end up like this? With short stories, if you try to create a complex story, that won't work for short stories, characters resulting in...Limiting the Number of Characters. character . As a familiar example, let's say that you in your *kyarakutaa’ o Yeap, school unifarm are in the same class with B-kun. “kyara’ in ves, Japanese from 0 Since you have just met, you don’t know much. arts & tho Ergish word SoBPY g about each other. noun meaning f ao personality or inaividuatty manga terminology a person that enters the story is called a character Essentially, it means the various idiosyncrasies that Pop quiz time. What kind of guy is B-kun? Who ma? I dor | know ! Well, you could say that but. its one The reason is because of year . you have gone through A! AN later. ‘Oh? He's a some fun and difficull eS Now, good dude, times together as friends phat But hes got 4 | | over the past year and 2 kind of | loud voice you have gotten to know guyis | andhistest | | ang understand B-kun L Bekun? | stink. And he y loves chicks. The same goes for manga characters. After the reacler sees a few scenes, they understand the character and have feelings for him. something to thatitg0es without saying that pages wil But, short story ~ as I Character 3 TTT cccition, ‘have to be expanded to show scenes. the name suggests - = al throughout | has a limited number ~~ the story, | of pages. | character 2 | the setting | L. __ has to be | = aT explained, | ri \ the | \ characters | tt fave tobe | character} introduced | relationships | and the | ce storyline | i needs to | storyline be | ul developed, t4-— nig i tool aff - | | meh o\ settin Pe ga explanation te If something has to 90, the onty thing to omt is the number of characters. [And since the development of | There is no way the setting and storyine Lean deveoe al [cannot be omitted. ‘hese chanscters, Making many characters is Ina word, a few crack rot suitable for short stories, characters ate desirable for creating a short story. Darn! Whae abou Leaving 60 soon? 95While the rule = the less charactors the better ~ holds tue, if the characters don't have something that will fascinate the y readers, they won't yl too normed and unsurpris ‘Ona method is to make E people think the character a slighty auirky person.Itis best to think of They! can epeak but Anice couple The ite biot thelr these as props to couldn't resist thel honky found Mornotaroo sidekicks appetites, Momotaron's world, | inside a peach — that ore | — ‘momo’ in| a wy Japanese - by the| tumplings river and raised rpc him as their own, ey [emu These characters then appear as part of the Momotaroo episode. All in all, Mometaroo and the ogre should be the onas that stand out prominently. This is what is meant by a few crack characters.ieee Pn MEET Avoid big themes ‘Short Story Themes Keeping it Simple The theme is the ‘character as he ought to be’ which runs ‘through the center of the storyline. short stories, Abig theme would be something like becoming the strongest man in the world or defeating a powerful vilain and the like. PIDPEEP! if possible with Killer! If the theme is becoming the strongest man in the worid then the character must defeat several other characters, which . doesn't make for a short story. oleted EE ehaactes. / f SIGH For axampe, confessing ‘one's jove to someone or defeating one’s (one and only one) rival are tales with only a few characters. When the ‘number of charactors is limited trom the the themes are wre a file ober crianted toward ‘So what kind of themes are nimi Short stores? fottihe man \o aN B_/ Te on! of genres\\ L& <{ willhavetobe | bay) abridged for now! V@LE9 Like don't blame X me okay. |Then With the following formula in mind: Simply write down the scenes and Drawing an Original wor] With the previously introduced fundamental aes me 8 sar an cating guidelines in mind, try Past (reason) + tema oO! | is also creating your own Present (event) = character and permissible}, original work. First, think | Future (outcome) theme should about the plot. become evident. summarize the overall contents into a synopsis ‘thus creating the foundation of the story. This document is known as your plot outline. Next consider your How to Organize the MP? Remember to characters. only include characters that Then, interweave your support the characters with the storyline. scenario and recompose the storyline. ‘Organize the elements while considering the highiights of the story and most shining examples of visual direction and foreshadowing, For example, CINDERELLA is a story about a girl with two wicked stepsisters who cause her a lot of grief and. shy Cinderela ends aoporces ct wy J up booming eee involved with fot owt fetish?) prince. ‘The past {reason} is Cinderela being abused daly by the stensisters and reaming of one day going tothe bal. The present (event) isthe areal her fairy godmother making going to a ball a realty. The future (outcome) is her bacominginvalved withthe princeNote: A catharsis style tala is one where tragedy continues wth the outcome concluding into @ happy ending, This catharsis style story is a so-called dlassic containing a climactic last scene which 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 everything until towards and the theme of| you fn ime ston = the story is expressed in \ interesting at the its most clear form. plot outline level. Therefore, when considering scenes, they ‘J must not be detached from the theme. A short story cannot afford detours in the storyline. It you don't leave by What? Tell me, wnat Is Mini-lesson in Understanding Visual Direction The word foreshadowing’ was "sed earlier, This is "when something that = wil ocour in the | tter-hatf of the story is inflicted upon the | character earlier in "the story. Foreshadowing is "Used in the following way in Cinderella, The ‘foreshadowing crops a hint by saying that something will ‘oceur when the clock. tikes midnight. I've only got three hours!! 101Next, allot ito the Manga Itis important to EI hin parts of consider the Add scene settings and dialogue unk rs ‘ the sript type of speech : suitabie fr each} 1 the plat outtine to complete this now than manga character, your script. at the plot pages. outline level. diction wil work. 4 Allotting Pages Take the story of Momotaroo Divide off the seript into |r example. ‘one-episode scenes. An old woman while, doing laundry at the riverbank picks \2 444 up a giant aa each, which loats by. This is scene one. Then the scenery changes. She brings the peach home and alittle boy appears. Up to here is one more scene. when she cuts the peach,If you use over five y \ vou" Pages per scene for a LN Youre 82-page short story, Think of one scene as one to four pages as arule of \ |), peagina everythingl there wil not be room tor the other scenes. We'll make omissions to the [Getting the Right Number of Momotaroo story by Pages \ | removing the scenes where ry / the peach is found and cut To get the right number of rn " 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 The old woman above two scenes, Finally we cut to the eg a floating boy coming out. the storyline works . ' and can be 1 Sa conveyed to the reader. Frediceabls Then we cut to the scene at the house. 103However, if omissions are made to the part expressing the theme or the throughlines in the script, you won't be able 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 show it to me. Look, a heichet mark. The general rule for the Fundamental | Frame Rules Based on the script, consider the spread of the frames usit composition paper. flovr of the frames in Japanese manga is Fight to left 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 simpla! This is because it folows the sae rule 88 when verticaly written Japanese Aligning the pictures with this flow makes the frames easy to see. The flow is right to left and L top to bottom. ‘The number of frames per page should be six of saver at most. For Japanesa manga, the flow is right to lef.compositions. eye-level composition high angle composition hen using these ipositions, janize the Teader in an /-to-understand laniner the llowing: who, ihat, when, where, AV} (¢ 7 close shot (bust-up shot} close up shot 105The drawing on the right is an easy-to- understand composition. 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. Move to an up-shot in ‘the third frame and inform the reader of ‘the character you want to show. 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, 106 “Thanks for your hard wor, Got samagi has enced By using a full-shot with the characters, ‘The dialogue is used well and the situation is visually directed in an understandable manner. the entire situation i] can be understood in one viewing. Then, compose the frame m| S0 not to be monotonous using up-shots for any Rea || characters, =U emotions, objects or areas you want to emphasize. ‘Shriok! show the place in the 4 tame, 7 Jon not In the fourth frame, move back to a full 4 scone shot showing the overall condition.Depending on the direction, the way re of advancing the frames differs. The | fe" z=9| General rules are: 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 the establishing shot saying the scene should not simply be has changed. buildings, streets or nature. Try devising Vatious set-ups more lke the establishing shot from the second frame in the previous example, For example, if you want to craw a picture showing the Arial of students to schoo, jst showing the building oes not convey the situation, Something is missing, Showing the students atthe school saying ‘good Morning’ back and forth conveys the stuation wel, Consider ile directional points ike this too, ETE’ EE IE THUMMP!, First, start off with a full scene shot to: % explain the positional relationship of the characters % 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 suraly want to use previous scene next scene Midway through the page it the previous scene ends, insert an establishing shot to give continuity to the next Gonsidering scene, the Visual Direction of eanishing 5 Close-ups are ots ” & reserved for o- things difficutt to Thnk abt ie ? explain with a out the small drawing direction of the Cy k y IF at most you establishing Se ‘olow those shot and rules to a bare explain the minimum, you situation at will be able to hand. compose easily understandable drawings, this old | chinge 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Bi ‘SHUFFLE-SHUFFLE GRIT! Written text conveys delicate and continuous movements, psychological | descriptions and And last but not least, one cannot neglect the written text allows the reader to imagine things like the force. In anime, there are pictures with ‘set poses called “genga’ in Japanese. 'By inserting “iictures J between the nga, the drawing looks ike it is moving. » 2 The frames on 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 connected allowing the reader to imagine movernent. While ewan for allotting frames \ for movement is to line up two frames. have to be the allowing the reader same size lke in to imagine the | the frames above. movernent, the frames do not example, even it you change the size or this frame ‘the composition of this next frame it shows continuity with the previous frame and the reader can understand my 110Three Frame Continuous Movernent “WHARAPY Making the Reader Imagine Movement with Frame Composition For example, take a scene where the bearded man tries to protect his daughter. tak the tak but you on r There is a wide {variety of composition movement out there, Try studying your favorite manga stories and films, ‘The idea of movement can be corwayed by moving the frame and using writton toxt. In this case, showing the emotion in the girls face: lets the viewer imagine the terrible nature of the fight.Balancing the Composition When you reach mange, you wil notice that even though thee Is a great deal of white space ~ ‘yohaku! in Japanese — in some works the sompasition 's balanced ang the use of whte space is eile technique, partitioning is. While this can depend on the style of the ‘work, the real reason is that the three-point (trianguian partitioning Keep this general rule in mind for now. Take @ look at the fallowing drawings. The first drawing is strangely unstable. When a picture: frame is added to accent the white space, now the drawing | looks stable. Stability can be achieved by forming a triangle like in the following drawing This is three-point partitioning,Put more simply, itis a method for adding stability by aecenting 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 too much and try to keep your drawings from becoming too confusedFrame Structur ‘Spread Layout 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. 1 l | 7 || PN 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. Las 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. Too much text is not good. Even if exposition is required, try to keep it toa minimum. Since frame allotment is one technique for skillfully displaying the drawings, Pl teach you properly, 114