From: isc30176@nusunix1.nus.sg (CHEN JIA TYAN)
Subject: Re: How manga is done
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 28 Jan 1993 16:26:55 GMT


Keep fingers cross that this time it won't be truncated.


                        How Manga is Done [v1.1, 250193]

[This was originally a set of emails to answer a friend's (Dennis) queries.  I 
thought it might be useful for some other people, so here's a compilation]

I read it from books on introduction to manga.  I have no formal education on 
drawing nor painting, just immense interest.  I have done some manga before, 
so some of the remarks are from my personal experience. I'm quite convince 
that I've spelt some of the artists names wrongly, please correct me.
Any comments, amendments, additions, criticisms should be directed to
Chen JiaTyan
isc30176@nusunix1.nus.sg
chenjiat@nusdiscs.bitnet
----------

(0) Equipment:
(0.1) Paper
A usual piece of original manga page is ranges from B4 to A4 size. The paper 
is quite thick, usually 90~120lb.  Get the smooth ones -- ones that you can't 
clean up the fibre as you rub it hard with an eraser.  Dennis mentioned that 
he used illustration board, which is too thick to be paper but too thin & fine 
to be card.  I guess that should be about right.  I haven't seen it before.

Other equipment include: pen knife, pencil, inking pens, ink, screen tones, 
brushes, white paint, and various others.

(0.2) Knives
The preferred pen knives are those that tilts at a 30degrees-angle when you 
place the blade horizontally on the paper, but one that is at 60degrees- angle 
will do just fine.  The rationale for the sharper angle is you'll find it 
easier to cut small corners, and curves.  You'll need the penknives when you 
cut screentones or even your manga.

(0.3) Pencils
Pencils can be either mechanical or normal.  The choice would depend on your 
familiarity with the pencil.  Try to get 2B lead, B would do fine, but HB is a 
little to light (and you have to press hard onto the paper, which can't be 
cleaned later).  3B leads are too soft for fine sketches. Some artists even 
get blue pencils.  They work exactly the same as black lead, and can be 
cleaned off using a normal eraser.  These are for artists who are very 
particular about their sketches, do them in blue, then in lead, then in ink.

(0.4) Erasers
To clean the penciling off, try to get soft erasers, and I mean soft.  Many 
artists chose MONO (look for a dragonfly in the logo) basically because it is 
the softest, or was, because I came across a new product that rubs even 
better: Pentel's Hi-Polymer eraser.

(0.5) Brushes
Brushes are mainly used for painting the black parts and for white 
corrections.  Get a thin one for painting white, that is when you have to 
paint fine lines, either to correct the black inks, or to draw on some parts 
you wanted white (say hair clips).  A thicker brush is used to colour the 
black parts, say night lines, hairs, &c.  It shouldn't be too much thicker 
than the 'white' brush, because you might need it to paint corners.

Inking pens, screentones, ink: KIV.


(1) Paging and formats
The artist first sketches the format of the page (ie the boxes) and then the 
characters in it.  The artist sometimes uses blue penciling for rough 
outlines, and then lead penciling for the more visible characters.

Much care is put into planning the page format: the position of the people 

must come in order of the speech, the bubbles must also be just large enough 
(too much talking crowds up the main ingredient), there must be suitable 
background in the respective frames, the frames' spacing also indicates the 
passage of time, etc etc.
NB:  I shall call the entire block of squares/triangles/rectangles on one page 
a "box", and each of these squares/triangles/rectangles a "frame".  I'm 
uneducated in the lingoes of comics, so if you know of a proper term, please 
let me know.

Pages are drawn larger than the printer manga books you usually see, and then 
reduced.  The original size varies, from A4 to B4.  Logically you'll have to 
draw larger than the printed version, else all the little mistakes you make 
might be glaringly obvious to the readers.  (I can still spot a lot of 
mistakes made even by the professionals - like unmatching shadings, forgetting 
to colour little parts of fabric etc)  If you intend to get your manga 
printed, you'll have to take note of how  the wordings and characters would be 
shrunk, and how the screentones come out after shrinking.

Here are sample dimensions of page from one of the artists:
(1.1)  Single page.      ..... are measurements in mm.
+---------------------------+
|              :            |   
|              25           |   Usually what artists do is that they measure
|              :            |   out the corners (+) on 1 piece of paper, then
|..21.+-------------+..21...|   stack 30+ pieces of paper together and punch
|     | :           |       |   holes through using a nail.  Of course they
|     | :           |       |   don't punch _on_ the corners, but punch guide
|     | :           |       |   dots to help them draw the inner box.
|     | :           |       |
|     |.:..180......|       |   The outer box is the paper size, ie, what can
|     | :           |       |   be printed.  The inner box is the recommended
|     | :           |       |   size of where the main drawings should be.
|     | :           |       |   You would have realised by now that many pages
|     | 264         |       |   do not have standard boxes, and many a times
|     | :           |       |   an artist draws right out to the border of the
|     | :           |       |   book.  That is this border's use -- to create
|     +-------------+       |   variation, and fit in excess drawings.
|              :            |
|              21           |
|              :            |
+---------------------------+

(1.2)  Double page.
+--------------------------------------+-------------------------------------+
| :           :                        |                                     |
| :           25                       |                                     |
| :           :                        |                                     |
| :      +----------------------+ - - -|- - - +----------------------+       |
| :      |  :                   |      |      |                      |       |
| :      |..:........180........|      |      |                      |       |
| :      |  :                   |      |      |                      |       |
| :      |  :                   |      |      |                      |       |
| :      |  :                   |..11..|      |                      |       |
|310     |  :                   |      |      |                      |       |
| :      |  :                   |      |..11..|                      |       |
| :      | 264                  |      |      |                      |       |
| :      |  :                   |      |      |                      |       |
| :      |  :                   |      |      |                      |       |
| :      |  :                   |      |      |                      |       |
| :      |  :                   |      |      |                      |       |
| :      |  :                   |      |      |                      |       |
|.:.21...+----------------------+ - - -|- - - +----------------------+       |
| :      :                             |                                     |
| :      21                            |                                     |
| :      :                             |................212..................|
+--------------------------------------+-------------------------------------+

                                       ^ Note that this is the joining of
                                         2 pages.  The (11+11)mm space have to
                                         be filled in with drawing also.
Some artists cut off the (21-11)mm from each pages, and tape the 2 pages 
together behind.  Some prefer to use a large sized paper so that the drawing 
is smoother (but most of it is going into the spine of the book anyway).  For 
double paging, there is no boarder at the center of each page.  Draw the 
picture (don't separate the parts) in the inner box of the double page.

(1.3) Frame formats
As for dividing the page up into frames, look at some manga to get some 
inspirations on the variety of the divisions.  Take note that most vertical 
divisions has a distance of 5mm, and most horizontal division 7 mm.  This is 
to facilitate reading.  One can make use of these distances to indicate the 
passage of time -- more than usual distance would imply to the reader that the 
next frame is not talking in the same environment/time as the previous.  
Notice that many shojo manga has slanted frames, these are more difficult to 
master (at least to me), so try to stick to Takahashi[1]'s standard framing 
first.
Some _nots_ in the designing of these frames:

a) don't draw the frames in a cylindrical format -- the reader won't know 
where to start reading;

b) don't use even spacing between all frames -- it looks ugly -- if you want 
the story to proceed right-to-left, top-to-bottom, the vertical spacing should 
be smaller than the horizontal's;  if your story is going from top-to-bottom 
then right-to-left (seldom), then the horizontal spacing should be narrower.

c) don't plan your frames with a same size -- say you have 6 frames to put on 
a page, do not simply space the 6 frames evenly, it looks monotonous, and the 
reader won't know whether to read it top-down or right-left -- try to stagger 
the frames like laying bricks.

Plan your story together with the format of the page.  This is necessary as 
the outcome will determine how your manga looks like.  You might like to add 
in some frames to fill up to the next page.  I'll not go into details of how 
to come up with an attractive storyline and people.  Let me know if this is 
necessary and I'll add something in.


(2)
Next is the inking.  

(2.1) Pens
Artists use various types of inking pens, including the most common G-nibs 
(looks like a droplet) and technical pens.  G-nibs have the inconvenience of 
having to dip it in ink every so often, but they gave better grip of the 
drawing -- one can drawing thick and thin lines by varying the pressure on the 
paper.  G-nibs also get eroded very quickly and an artist usually by them in 
dozens.  The other kind of pen is the technical pens, which one can get in any 
major bookstore.  Some recommended nib sizes are: 0.6, 0.4, 0.2, for most 
lines which you might need to draw.  The drawbacks of technical pens are that 
the are more difficult to handle and care for (have to hold it vertical, 
difficult to clean it etc); they can only draw one thickness; and that they 
are expensive.  But for beginners, I suggest that you get a 0.25 nib to at 
least touch up the finer parts of the pictures.

(2.2) Ink
Buy good ink, not any indian or Parker ink.  Either get the authentic black 
ink for drawing from Japan, or as a substitute, I find Faber Castle's 
technical pen ink dark and thick enough, and it is water proof.  The ink you 
choose must be really black, preferably water proof, and does not spread nor 
turn yellow/blue/purple.

Try to ink the eyes and face first, before proceeding to the rest of the body.  

After putting on the bubbles, use a thicker pen (0.6) to draw the border.  Or 
you can use those 'duck-bill' pens (the ones you sometimes find on a compass).  
Do not panic if you accidentally draw pass the lines, that's what the white 
paint is for.  If the white paint is too thick or can't cover up the error, 
use correction fluid (not recommended because it makes a budge on the paper).  
Ink only the outline, don't colour the black parts yet.  For the black 
portions eg hair, clothing), you can colour better with a soft brush using the 
same kind of ink.  Attempting to colour the black parts with a think nib only 
serves to spread the ink unevenly.

If you soiled the paper, you can always cut up the clean portion and paste 
them on a re-drawn piece.


(3) Screentones
After you've got everything down in ink and dried, you can erase the penciling 
and start on the screentones.  Screentones are plastic films with all those 
exciting patterns and dots you find so much of in manga.  There are "transfer 
screens" and "cut screens".  

As for selecting screentones, there are certain standards of defining the 
'dots' screentones, namely the density of the dots and the size of the dots.  
Take for example this code 85L-10% means the dots are 10% sparse (turns out 
very light) and 85 in their coding of size (very small), so the effective 
result is a faint shading, good for drawing clouds etc.  As for lines, a code 
could be 0.03mm-50, indicating the spacing between the lines and the thickness 
of the lines.  The others patterns (like flowers, waves, squares, lights) 
really have to depend on the individual companies.  But you should be able to 
identify these 2 most common used screentones with little problems.  At ~S$8, 
I can get an architect's (cheapest) screentone of B4 size.

(3.1) Transfer screens
Transfer screens are relatives to the usually DecaDry we find in book shops -- 
ones which you apply pressure over the plastic and the pattern sticks onto the 
paper.  This is not recommended because the patterns are quite fine and you'll 
most probably miss some parts when pressing it onto the paper; and also, 
transfer screen patterns don't stay on the paper very well (they're sticky).

(3.2) Cut screens
Most artists use cut screens.  I couldn't find them in this island, but bought 
quite a lot from Japan and Taiwan.  They are thinner than transfer screen, and 
the patterns are printed _on_ the plastic, not under it.  Beneath is still 
stick stuffs.  They are a bit different from usual architecture screen tone 
because the surface is a bit frosty (vs shiny) and the patterns can be 
scratched off by scratching off the top layer of the plaster using a pen 
knife.  Some common intensities are 10% to 40% dark, but it depends on usage 
and preference.

Transfer screens are easier to deal with: just press off the required amount 
onto the picture.  If some excess sticks to the paper, gently scratch it off 
with the pen knife, or paint over it.

Cut screens need some getting use to.  First cut a piece >= area you wished 
coloured.  Paste it over the area _lighty_.  Now slice off the excess with the 
pen knife.  You'll need practice and skill to manouvre the blade and the 
pressure should be just right -- so that you'll cut the plastic film but not 
the paper.  After you're satisfied, press the film on with either tools or 
even the back of a spoon.  (Some more expensive cut screens can be removed by 
blowing it with a hairdryer, but that's not really necessary since you've 
already taken all precautions possible).

After putting on all the screen tones, you might like to paint some little 
details on them, like polka dots, snow, shiny surface, light rays etc.  Or you 
can scratch them off the surface of the cut screen with the pen knife. 



(4) Two standard techniques for effects.
I cannot say much about these in words, except to ask advise you to seek 
experience from the professionals.  I read more shojo manga, so please alert 
me to the shonen manga artists whom you think are role models.

(4.1) Screentones
Takahashi[1]'s screen tone usage is standard, but already quite difficult to 
master.  Take a good look at her works, notice how she does the water melons.  
For better and more complex usage, look at Ho^jo^[2]'s "City Hunter".  For 
his, learn his techniques of shading with screentones, and the backgrounds and 
clouds.  Otomo[3] is famous for his usage of screentones -- "Akira" is one of 
his best examples.  His shadings of machines and buildings and effects are the 
ultimate.  For good armour shadings examples, look for Kurumada[4]'s Saint 
Seiya.  Shojo manga artists use screentones with less effects as the shonen 
manga artists.  They mainly use them for colouring.  But some good samples may 
be found in Narita[5]'s "Cipher", Iwasaki[6]'s "O^to Ayakashi Kitan", 
Saito^[7] and CLAMP[14]'s books.  Shadings and background effects can affect 
the impact of the manga tremendously.  Fujita[8] uses a lot of cute 
screentones to brighten up the atmosphere.

(4.2) Lines
There is another area for lines.  This is used more often by shojo manga 
artists.  Line effects are mostly for motions (like running, kicking), but 
also for facial expressions (like embarrassed, dreadful).  Shinohara[9] uses a 
lot of line effects, but little screentones.  Take a look at her "Umi no Yami, 
Tsuki no Kake".  Hikawa[10] is also good in lining.  Grab her more recent 
works like "Onnanoko wa yoyun" for a sample.  A distinct shonen manga artists 
who uses lines to great values is Ikeue[11].  Try his "Crying Freeman".

Lines and screentones can be combined to create shocking effects, fuming 
backgrounds &c.  You'll have to spend hours staring at your manga before you 
are able to learn or even duplicate from the works.


(5) Colour Pages
To make a colour page, you have two choices for the colours: paint and 
coloured screentones.  The technique is about the same, the time spent is more 
than double that of black&white pages.

I honestly think shojo manga artists produce better colour pages than shonen 
manga counterparts, perhaps they are more patient.  If you take a look at 
Ko^ga[12]'s "Genji" and "Earthian" colour pages, you'd realised that she spent 
a lot of coloured screentones, especially on the hairs (wow!) and that's a lot 
of work, but the result are stable colours (especially visible when printing), 
close to cel-like pictures.  The other choice of using normal paint/water 
colours might result in a diluted colour on the page, but Narita[5] has done a 
good job of it.  Just look at any of her "Cipher" illustrations.  Midori[13]'s 
recent illustrations for "Haruka kuni no Monogatari" are also very colourful.

Usually cover pages and illustrations take more time to do than normal pages 
-- they might be more detailed (note the background) and since it is a large 
piece, more effort is needed to perfect the lines and colourings.


(6) Conclusion
That's it for novices.  There are lots of advice professionals would give, 
like how to draw backgrounds, how to draw line effects, how to mix screen 
tones etc.  But I guess you won't need to know these, yet.

Final advice: examine a manga closely to learn more techniques (especially how 
the artists divide up their frames and the viewing angles), don't just
glance through the story, you'll realise more and more as you go along.


(7) Appendix 
Artists and some of their manga.

[1] Takahashi Rumiko
        Ranma 1/2
        Urusei Yatsura
[2] Ho^jo^ Tsukasa
        City Hunter
        Cat's Eye
[3] Otomo Katsuhiro
        Akira
[4] Kurumada Masami
        Saint Seiya
        Fuma no Kojiro^
[5] Narita Minako
        Cipher
        Eirian Sutoriito
[6] Iwasaki Yo^ko
        O^to Ayakashi Kitan
[7] Saito^ Chiho
        Tenshi no Tattoo
        Koibito-tachi no banjou
        Honoka ni Purple
[8] Fujita Kazuko
        Romance Godankatsuyou
[9] Shinohara Chie
        Yami no Purple Eyes
        Umi no Yami, Tsuki no Kake
[10] Hikawa Kyo^ko
        Jikan wo tomete matte ite
        Sorenari ni Romantic
[11] Ikeue Ryoichi
        Mai
        Crying Freeman
[12] Ko^ga Yun
        Earthian
        Genji
[13] Midori Yukako
        Haruka kuni no Monogatari
[14] CLAMP
        To^kyo^ Babylon
        Rg Veda

--
CHEN JiaTyan
isc30176@nusunix1.nus.sg
chenjiat@nusdiscs.bitnet