More How to Draw Manga Vol 1 The Basics of jinzihao.info .. Beginners will have to adjust the under drawing first; otherwise, a huge mistake could result. Manga Studio for Dummies - Free ebook download as PDF File .pdf) or read book online for free. If you like the book, buy it!. Read Manga For Dummies PDF Ebook by Kensuke jinzihao.infohed by For Dummies, ePUB/PDF , jinzihao.info .PDF).
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by Kensuke Okabayashi. Manga. FOR. DUMmIES‰. TEAM LinG Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo. If you love Manga, you'll eat Manga For Dummies, right up. This step-by-step guide shows you how to create all of your favorite Manga characters from rough. Manga for the beginner kawaii: everything you need to draw the supercute .. Beginners often do rough sketches before making a finished drawing. And.
Fortunately, you can practice your inking as much as you want in Manga Studio, and you don't have to touch the roughs! The hairline should not to make them too long. Y' You're going to have to draw backgrounds to help the reader understand the scene. Manga Studio was exactly what I'd been hunting for these past few years. So you imported your image into Manga Studlo, but things don't seem right when you view it on the page? Yasuo lmai Moclels: A Vital Tool 76 Chapter 5:
Regardless of whether the If a character with a button hairstyle and eyes are the nose is given a defined nose same, with a button nose in the profile view, then she this becomes a different becomes a different character.
Facial feature placement Artists often find when they draw lines through the two views that the faces do not match up. Try this once for the sake of taking control over your own style.
Use almond-shaped eyes with small, black pupils and irises, straight noses, and smallish mouths to suggest a mature face. Nostrils may be included. Thickening the eyebrows and adjusting the hairstyle results in a boy character. Enlarging the irises and giving the eyes a moderate downward slant produces a tomboy. ChildJen's faces do not protrude much, so keep the features relatively flat. Here, we have Child Faces a tiny button nose and no prominent bridge.
The differences between profiles lie primarily in the nose. Since the nose is used to Four Profile Types distinguish the character's age e. Both male and female characters share almost the same nose. The nose has virtually no bridge and is small and angular, comprising primarily straight lines.
Iris In manga and ani me, the corner of the eye is often rendered unconnected. The most favored eye shape is. CD Draw the upper eyelid. Draw the lower eyelid.
Draw a circle for the iris, almond. An eye! Assorted Shapes Eyelids The eye is the most important facial feature when drawing a character.
Gives the character a sense of presence and projects an impression of his or her personality. In manga, the eye can be considered the most difficult as well as the Here, a single line was Here, multiple, sketchy most crucial feature. Here, the iris is small, only eyelid are touching. This is The iris occupies half or occupying less than half of suited to children and more of the total height.
This is. Contour a large light reflection occupies light reflections. This eye sports an enormous Here, the entire iris has been Here, radiating strokes were used pupil, an oddly shaped iris, and rendered using sketchy strokes. Shading also defines spots of hatching, the lower eyelid. This basic, smallish iris has been Here is a squinted eye, where the The lower eyelid was omitted on drawn without light reflections.
Instead, only light The eyelid's contour lines have Extra thick strokes were used for reflections were added to the iris. Minimal eyelashes Plain iris Relatively straight contour lines Drawing Steps - - - - - - - - - - - - - - - - - - - - - - - - - - - - Draw the pupil and eyelashes. The iris and lower eyelid are touching.
Sketch in the iris. The basic layout-the eyelid is The completed under lowered, so draw the exposed area of drawing-light reflects off the iris the iris as if more covered than usual.
Use Use small, delicate strokes Stress light and shadow by larger, plumper eyebrows and iris to build up the eyelid and iris. The light reflections should likewise be larger.
Do not draw the eyelashes individually but in clusters. This will produce a more pleasing image. Side Views and Gazing Upward. Follow the same drawing steps: Light reflections Adding delicate hatching to the corner of the upper eye produces n glistening, moist effect.
Add triangular reflections. Draw the Iris to finish. Do not define the outline of the Iris and light reflection too strongly, but simply sketch them lightly. Il for the entire interior of the is solidly filled in, ris.
The key is to sketch roughly using strokes that any light reflections. Build up the hatching Fill In with delicate build outward.
Here is a rather realistic drawing. Radiating strokes were used for lhe iris and eyelids. Draw the iris and the pupil.
There are Side reflections 2 basic types: Adding a small reflection opposite a large reflection suggests 2 opposing light sources a small and large. The character is gazing off to the left from the viewer's perspective. The light reflection in the upper left of the iris creates this effect.
Central reflections This is a light reflection drawn in almost the center of the iris. The gaze is directed left. Draw a large light reflection on the same side as the gaze is directed 48 i. While each individual eye appears natural, gaze directions do not match up.
Adding large, circular light reflections results in a mismatched gaze. Mouths as a line This mouth was rendered using a single line plus a shadow formed underneath the lower lip. The key feature of this style, which Is the most popular mode for shonen manga, is that the lips have not been defined.
Modifying the way the Using a realistic style fer shadow under the lip is rendered will Here, lip contour lines the profile would make change the mouth's look. Rather than opting for a monotonous single line for the whole mouth, here this line becomes an abbreviation of the upper lip.
This is not a realistic drawing employing In the profile, since meticulous detail. Fleshy, voluminous mouths Here, we see a realistic depiction, emphasizing the lips' volume.
The dimple above the Cupid's bow is suggested with a line. The dimple above the upper lip Is suggested using a short, downward curve. Lips in lipstick Clearly delineate the upper and lower lips' contours. Clearly defining the When drawing a profile, lips' contours allows keep U1e lower lip line you to emphasize that starting from U1e comer the lower lip Is of the mouth short, plumper than the cutting It off.
The mouth style indicates age in female characters. Single line: When drawing the bridge, be sure to ""- include this depression. Manga-esque noses no bridge Here, only the tip has been drawn. The nostrils are usually omitted in this style. Omit the fleshy part of the nostril and this wrinkle. Nostrils are usually omitted. Sample realistic aquiline noses Again, the contour lines are clearly delineated.
The nostril faces downward. These lines indicate the angle of the ear and the thickness of the helix fold. Take note that for the opposite ear, the image becomes reversed. As with the realistic ear, the manga ear in a frontal view is about half the width - - - - as in profile.
Use a tallish, 6-shaped whorl for the interior. At an angle, the ear forms an oval. The curve of the auricle follows the jaw line. When designing the ears, study how they look from above and other angles. Eyebrows come in various shapes and thicknesses. Keep in mind where the bridge of the nose would be even when bridge of the nose. Usa the same distance eyebrow to forehead distance in the front view as in the profile.
The eyebrow begins Here, the expanse close to the glabella. The distance from the face's center line to where the The distance from the eyebrow starts is short. Draw eyebrows on characters with long bangs if the forehead is visible. Good Not good Here, a thin eyebrow is drawn Without any eyebrows, the mouth between hair strands. While the and eyes do provide a certain degree eyebrow was added in after the hair, of expression, but the image still it still supplies plenty of expression.
If you draw the face taking up all of the paper, then you may run out of room for the hair, so be sure to anticipate how the hair will lie. The crown whorl actually lies toward the back of the head. Lines for main body '. The hairline should have been drawn here and not the hair layout.
The crown whorl was drawn toward the inside, making it seem like the hair was growing from inside the head. How the hair grows: The hair originates from the crown The crown whorl is located at the back of the head. The hairline is drawn above the head contour. Maintaining awareness of the crown whorl when drawing the hairline will enable you to produce a head that is round and has volume-even with short hair.
Positioning the crown whorl at the Draw the hair radiating Draw the hair using arced back of the head means that long, out from the crown whorl. Keeping the Crown Whorl to the Back Positioning the crown whorl toward the front will cause your character to have dWeeby hair. Despite that the crown whorl will not be visible from the front, still draw the hair as If growing from somewhere In the back. Positioning the crown whorl at the back of the head will, at the very least, giVe the Moving the crown whorl to the Here, the head contour and hair visually front may cause the head to hair layout have been consistent roots.
Think about how to direct the swirl when drawing the crown whorl in the back of the head and when designing the hairstyle. Swirling to the left Swirli! The hair flows in the opposite direction on the left side. The more open the whorl, the gentler the curves. Use S- shaped, undulating strokes. This whorl, located at the back of the head, flows to the right. Swirling hair From the front view, the From the back view, the 62 hair swirls to the right.
Swirling hair with realism When sketching the hair layout, assume that the crown whorl will be positioned in the back. Hair to the back and opposite side flow in Single-length hair the reverse direction. Here, the hair falls straight downward. These strands fall toward the viewer. Draw single-length hair as if flowing in 3 directions. Where the hair is parted When drawing the back of the head, first draw the head's contour and the ears, using these as guidelines for determining the hair's volume and flow.
A head will increase in size according to the volume of the hair drawn. This is because hair actually grows from the scalp outward, covering the head's contours. Grass always grows upward and then falls over from its own weight.
Hair grows in a radiating The amount of volume created by the hair Think of hair as enveloping pattern from the root. The the head's contours, forming Think of the crown whorl more strands and stiffer the hair, the more a "layer of hair. The fewer the root and Individual strands and softer the hair, the more the hair strands as grass blades.
Good When consideration is not given Not good to the hair's volume Here, the hair was drawn with the part to the The resulting head appears flat Here, the hair layout has been top left character's perspective. While the and distorted. Not a pleasing sight. Primarily for hairstyles with bangs Back part for hair Front part Back part Creating 2 Parts flowing to the sides and along the head's contours The bangs radiate from the front part.
The sides fall in gentle, almost parallel curves. The back part is located at the crest of the head. Drawing hair falling along the sketched hair layout gives the hair volume.
Give the hair overall volume matching it to that of the bangs. Drawing hair from the back Draw the hair growing from the part and then falling straight down.
Having the front tress of hair divide at the ear's center. This will give the flow a natural feel. Note that normally when the head is tilted up, this lock will not lift like this. The lock in front of the ear forms an S-curve when looking up. Crown whorl Draw the hair parting in a gentle curve, flowing from the crown whorl. When looking down, To start, draw just the general shape of the hair the ear becomes the and fill in the details last.
Increase the level of point of reference for detail, using more strokes as you approach the movement in the 66 ends of the hair. Bending back causes the hair to flip back, potentially making the character look like another person. In manga, albeit unrealistic, the bangs are occasionally drawn lying on the forehead to rectify this.
Here, the original hairstyle was emphasized. The ends of the hair fan out, offering variation on the look. TI1e forehead is concealed. Merely concealing or exposing the forehead results in an entirely different look.
Tilting the head back makes With the hair flipped back, the the hairline prominent. This strand is defying gravity. The ear peeks through, indicating supple hair. The bangs are parted down the middle. Show a bit of the bangs on the far side even in the profile view. The tight curls in the bangs maintain their positions even with the head tilted back. The thick hair tapers in a conical shape. For hair long enough to cover the back, draw the area concealed first and then the hair over that.
However, since it is the key factor in determining the flow of the hair, make sure you include it. The falls from the neck.
Here, we catch a glimpse of the eyes and mouth, normally hidden by hair. Draw the eyes and mouth and erase the hair where necessary. This is a realistic depiction, where the hair obscures the eyes and The hair flows from the hairline mouth, hiding her facial expression. The hair does not fan out over Draw the hair fanning out the head much. The hair's kinkiness gives It an unexpected amount of volume in a bob cut. Draw the distance from the center of the ear to the front of the bangs the same as that from the ear to the very back end of the hair.
The individual hairs are fine but stiff, so the shape is retained in profile. Unlike the other styles, this hairdo pretty much maintains its shape whether looking up or down. The end of the hair forms almost a perfectly straight line with the chin. When composing from a In the back view, bring the hair moderately low angle, draw the to a length that allows view of volume of the ends of hair. The hair is held in place The hairline is exposed, with grease or gel and owing to the flipped back, does not lose its form.
Since the emphasis lies on keeping the hair slick against the skull, the artist must make sure the head drawn properly. When switching the direction faced, maintain awareness of the hairline and take care that the forehead's expanse does not change. The bangs tend to fall as time passes and may be suggesting by drawing several strands falling k3 with the pompadour, down in front.
Making the legs half the total height will give the character an attractive 0 appearance. This circle. Draw the joints: The knee is bent, putting the leg at a wide V-shape.
The hand is smaller than the head. The elbow is about waist-level and located midway between the shoulder and wrist. CD The pose layout is a basic stick figure. Sketch in the feet use a rectangle. You will find it basic figure layout easier to attain a sense of volume using curved lines than with straight. Clothing does not come plastered to The above is a basic nude sketch.
Use an oval to render the pelvis of a female character. The skewed side view has a slightly more "fashion magazine" type feel and is more flattering to the chest. Using a trapezoidal Cleaned-up version shape will give the back of the basic figure layout a masculine feel.
The shoulder blades become a key point in drawing clothing creases. Clothing rumples around major joints other than the wrists and ankles. Imagining the creases forming in a "coiling" pattern when drawing them will give the muscles volume. CD The basic stick figure is drawn the same as with a male figure. Sketch in the hair layout from the start. Add clothing. Be sure to draw the collar, even though it will ultimately be Nude sketch hidden by the hair.
To achieve this, artists use the head as a reference measurement for the figure overall. The body-to-head ratio refers to how many head lengths measure the figure's total height.
A character that is 6 heads tall has a 6: One that is 8 heads tall has an 8: Character with a 6: Here is a contrast between an 8: The differences in head sizes causes 2 characters of identical height to have different body-to-head ratios, affecting the characters' appearances 84 and atmospheres projected. Use a ruler to plot the body-to-head ratio. The body-to-head ratio is the total height divided by the head length. The body-to-head ratio of the character to the left is- For a character 16 em tall: At first glance, these appear to be the same manga page.
Here, the head is bigger than it should. Here, character looks the same When the character first appeared, his as when he first appeared on the body-to-head ratio was 8: The reader senses something odd.
The figure's proportions are balanced by adjusting the positions of the Balancing Proportions waist and groin. Characters with the same body-to-head ratio can be All three figures are the same height and their distinguished by the positions of their waists and groins. Sample proportion balancing by It is not necessarily true that all characters must be drawn with to body-to-head ratio the groin positioned halfway along the figure.
Characters with body-to-head ratios of 5: This is to year range. The groin Is positioned just well for 5 to 8 year suited to preschoolers around 3 to 5. The low of the halfway mark, making the legs olds. This can be used toward high school young elementary middle to high school for boys and girls alike who are aged about 9 student and adult male school students around students, both boys and to 12 years.
This ratio may also be used with and female characters. Characters with different heights but identical body-to-head ratios Putting a 7: This Is also because normally, school aged characters leggy boy.
Keeping Male and Female Characters Distinct Male character The chest is usually The groin is located about 1-head usually located length below the halfway along head. For this figure, I Halfway mark moved the groin above the halfway mark, making her a little leggy.
Key points in distinguishing male and female characters The woman's eye comes to Adjust the height about the man's chin. Usually when drawing a couple, it is a good idea to make the female Male character: Use about a half or full head Female character: Adjust the proportional balance Give your male characters broad For both male and female shoulders about twice characters, draw the the head's length to get waist about 1 head's a properly masculine length above the groin. Aim for characters. Lines for male Lines for female characters tend to characters tend be straight.
Use to be curved. Give male characters larger joints and female characters smaller ones. At this stage, the shoulders and pelvis may be drawn the same size for both sexes. The female torso is a triangle. Using large circles for the Using small circles joints will facilitate drawing for the joints will muscular, masculine arms.
When you find a character in a work of manga that appeals to you and think you would like to draw it, take a careful look not only at the character's face or clothing, but also the body and head's proportions. These are the key ingredients to drawing a visually pleasing character. However, basically this means, for example, drawing a seated 8: J established. Groin Halfway mark Here, I set the established the groin's groin halfway along the position, the torso and figure.
You need to know the distance from the head to the posterior to draw this pose. I To start, draw a stick figure side view to help you understand the The posterior hips from the front is located about pose.
Draw a proportion layout using a 4: The distance from the knee to the foot is 2. Here we see the final drawing. It has been drawn so that the body is visible from underneath. Normally, the body is not drawn in such detail, but I intended on this serving as reference for studying the relationship between figures and clothing.
Position a character's full figure on a sheet ' of paper, like this. In the case of an 8: Note that the head size should include the I.. Check to see what body-to-head ratio you normally use for your characters. Analyze the proportional balances of a man seated in a chair. The center line. Transform the layout of the man into a woman. Make the shoulders narrower. Slim the waist. The key points here are the shoulder breadth, the girth of the Be careful not to change the positions of the elbows.
You could r f. Try to make use sizes and adjust the them to "not rest" 1 of the hip width as is. Draw the details. Use the photo as reference for how the clothing sags or creases form. Here, your goal is to draw a back view of the boy to the right seated on the floor. What you have is this photo of a woman for reference. The hips groin are critical in drawing seated poses.
This boy has a body- to-head ratio of 5: Use a block with and back. The key point here is planned for the seated angles that are as faithful to character. The distance from that the wrists and hips rest on those in the photo as possible. Think of the elbows and waist as visual points of reference. Sketch the left leg. The shoe toe is distant and consequently appears small.
Here, a sketch has been made of the leg. The leg is 2. Where the magic takes place. These tiny and not so tiny boxes of various shapes and sizes contain all the action and dialogue of a scene. See Figure Y' Gutter: The white or black space. Y' Bleed: A panel that extends all the way to the edge of a page. When the pages are cut after being printed on, any art extending into the bleed is cut ofi. This makes the panel extend to the edges of the finished pages.
When you work on pages that will be printed by a professional printer, consider a sma1l area around each page disposable. The trim is the area that is cut after the pages are printed - anything past the trim is lost. Y' Safe area: The area of the page that's in no danger of getting trimmed by the printer. It's suggested that you keep all of the dialogue and most important artwork inside this area.
Y' Layout: Usually a very rudimentary sketch placing what you want on the page, including the number of panels and the basic action you want to show in each. A term for the unrefined pencil or pen sketches that you use to get a "rough" idea of how you want the page to look. Roughs tend to be more detailed than layouts but can still be pretty messy, compared to the final work. Very rough pencil sketches. You aren't worried about the sketch being clean - you're more focused on getting the general "feel" of what you want to draw on the page.
See the leftmost image in Figure Cleaner, more refined pencil work. These tend to look more refined than loose pencil work. See the middle image in Figure Tiny dots that are used in black-and-white artwork to depict shades of gray. Screentones are featured quite heavily in manga and some independent comics. This refers to panels where a figure or object "breaks" beyond its borders. This causes the illusion that the figure is "popping" out of the confines of the page.
A panel that depicts where the scene you're drawing is taking place. It gives the reader an anchor of sorts. This can be a city skyline, a country meadow, or the exterior of a futuristic spaceship flying through space. Drawing comics can be hard. Telling a story can also be hard.
Telling a story in comic book form is extremely difficult.
You might be thinking, "What's he talking about? I draw panels of people fighting or talking and I'm good to gol" Actually while I do love a good fight scene there's a bit more to storytelling than just a series of boxes on a page.
I'm certainly not going to pretend I'm an expert in the field of storytelling. In Chapter 16, I mention a few books that you can check out that offer a much better and thorough explanation on the subject. But, I thought I'd mention a couple of tips that I've picked up over the years that you may find useful as you start working on your first pages.
When I draw what passes for comics or manga, I tend to not think that I'm drawing comics. Instead, it's more like I'm storyboarding the scene of a movie. So, as I lay a page out, I try to think about how the camera would capture what's going on in the page. When working on my own comic, I've found that this helps me visualize how the page should be laid out. Actually, this helps when I'm working from someone else's script as well- just in a more structured "this is how many panels you're to draw" way.
By thinking this way, I get a better feel for how I want to pace the story, where the characters should be in the scene, how the scene should be lit, and so on. I also know not to confuse the reader by suddenly switching character positions or drawing from crazy angles just because I think it looks cool.
If it wouldn't work in a movie, it probably wouldn't work in a comic.
As you start laying out your first pages, try to think about why you want the page to look a certain way as much as how you plan on drawing it. That way, if it makes sense to you, it will make sense to the reader. Y' You're going to have to draw backgrounds to help the reader understand the scene.
Backgrounds aren't the easiest things in the world. They can be downright maddening to work on, especial! It's much more fun to draw figures - alter all, that's what the readers will be focusing on, right? To a degree, yes - the characters you draw on the page are what entice the readers to read the comic.
But if you don't give the readers a basis for where the characters are, they aren't going to know the context of what the characters are doing. In Making Comics: Rather they're environments that you're creating for your characters to live within. So try not be afraid to draw them, as difficult as they may be. You don't want your characters to exist in limbo, do you?
V'" Take as many pages as you need to tell your story. If you plan on being the artist for someone else's book, odds are you'll get a pretty tight script telling you exactly how many pages will be in the book and how many panels per page.
If you work on your own book or webcornic, you get a bit more freedom. One of the ways that I feel manga differs from the DC or Marvel comics of the world is the impression that there is more freedom in the way the artist tells the story.
What an American creator may tell In one or two pages, a manga artist may tell in ten or twelve. I always felt when reading certain manga that there was more of a "cinematic" pacing, almost like I was reading a movie if that makes any sense.
It's your story to tell- tell it however you'd like, with as many or few pages as you want to. It goes back to the first suggestion I make in this section: Try treating the comic as though it's a movie and you're the director. You get the chance to tell your story exactly as you want it to be told. These suggestions don't really have anything to do with Manga Studio.
You don't need a computer program, or even a computer, for these tips. For the beginning artists out there reading this, I can only guess how excited you must be about hunkering down and getting to work drawing everything that you have going on in your imagination. As you go along though, you may find times where this isn't quite as fun as you thought it would be. I hate to say. You may get frustrated that things aren't coming out quite as you want them to.
You may, after a while, just decide. It's natural. Every artist goes through that at one point or another. I know I do on a regular basis. But I try to keep at it, even when I feel like I don't want to anymore, and I'm sure you can do the same thing, too.
So, in the following subsections, I compiled a few suggestions and tips you may lind useful if you start to feel frustrated or stressed that things aren't going quite as well as you hoped. I used to hate that word, if only because I really hated to actually do it. I found it extremely mundane and boring, going over something again and again and again. I just figured that if I drew a figure once, that's all I needed to do. The only way to get better is through repetition and practice. Whether it's drawing hands, eyes, heads, or buildings, as you repeat the process again and again, it becomes second nature.
Eventually you may get to the point where you can draw a cityscape or large group of characters without breaking a sweat. But you aren't going to get there unless you keep working away at improving those skills, and the only way to do it is to go over the process again and again and again and again and again. Take a look through some various comics and manga. What's the one thing you notice?
That's because each of those artists has found what I call his "voice. They took what they learned or admired and built upon it, creating something uniquely their own, this fueling the next generation of artists to do the same thing.
There's nothing wrong with emulating the style of your favorite artist at first. Heck, I started out as a Jim Lee clone when I first started drawing comics in high school. But if you want to really stand out from the hundreds and thousands of other artists out there and not be constantly called a "so-and-so clone" , you'll eventually need to find the style of drawing manga and comics that you can truly call your own. Above all else, as you find your voice, don't be afraid to take chances.
If you really want to create a unique style, you may have to push your artistic boundaries in ways you never thought of doing before. Who knows? Maybe as you grow and mature as an artist, you too will influence someone else to get into the business.
And how cool would it be to say someone is a "clone" of you? For those times when you feel artistically drained or you feel like you're out of ideas, try flipping through some comics, art magazines. See what others are doing. You may feel yourself getting jazzed up just by looking at new and different kinds of comlc or non-carnic-related art styles and techniques.
Getting a fresh perspective on how others do their work may help you to look at your own work in a new light, allowing you to tackle things in a way you never thought of before.
Besides, you may even find you can do a better job than what they've done, and a little artistic competition is never a bad thing. When you get stuck on how to draw a particular figure, background, or object correctly, use a reference image!
It could be a photo of your friends acting out the scene or an image you've taken off of the Internet of a cityscape, tank, or airline jet. Whatever the case may be, using some kind of reference material as you draw gives your art that much more realism and believability, which may help your readers become more engrossed in the world you've created. It's probably odd to suggest that there is a wrong way to draw a manga or comic, when it's such a subjective genre in and of itself.
But as you go along your artistic journey, you're going to encounter times when you work on a piece of art, take a step back, and you or someone else will say, "Well, that didn't work at all! It happens. Not everything you create can be a touchdown. There will always be instances when you throw an incomplete pass or worse yet, fumble the ball.
You can probably tell that football season started at the time of this writing. I think, more than anything else in this book, that ground rule needs to be established because hopefully that will help you as you try to push your artistic boundaries. Criticism is one of the things that you face when you create art for public view. For everyone person that likes what you make, there's someone that hates it and dissects every little nuance that's "wrong" with what you've done.
It comes with the territory. Some are going to be harsher than others, and it can be very easy to get discouraged when you get a scathing e-mail or message board post stating that you "stink.
When that happens, you just pick yourself up, dust yourself off, and decide if there are any nuggets of information within the criticism that you can use to learn and improve from. Of course, I could be completely wrong about this. The longer you work on a comic, the more you may become bored and tired of it.
That's understandable; it's a grueling and daunting task to crank out page after page after page. I think that's why many independent comics out there don't seem to go past three or four issues - eventually the creator just gets bored and decides to stop.
Is to try to focus on one page or issue at a time. It's a long, arduous process, to be sure. But if you can mentally prepare yourself for what could be a very long road ahead, you may find yourself at the end looking back at all you've accomplished before you know it. You want that chance to live out your dream - and hopefully at some point, you'll get to do that. Always remember that feeling because there will be times when you wonder why you're doing this to yourself.
Being a comic artist is, I believe, one of the luckiest jobs in the world, even if you don't get paid for it. Although, making some money is ntce.
You get to create brand-new worlds and characters. If you're fortunate, people will get to read and enjoy what you've put your heart and soul into. Never forget that. II 'hue. Ask and ye shall receive - this chapter is just for you.
This chapter is all about starting down your path to manga creation quickly and easily. I go through only the vital information you need to know about Manga Studio, as well as the basic tools you need to get the job done. II you need more detailed information As I go through the basic steps to create a page, I make sure to point out which chapters in the book you can turn to in order to get a closer look at how certain tools and functions work within Manga Studio.
For the purpose of this quick-start guide, I'm using Manga Studio Debut. This is for simplicity's sake, as the goal here is to show a means of creating a page that both versions of the program Manga Studio EX and Manga Studio Debut can do easily. After you install the program and enter your serial number, you should see Manga Studio's workspace. The next order of business is to create a new page to start drawing on by lollowing these steps:.
A New Page dialog box appears, as shown in Figure You're presented with a lot of choices for page types, as well as an option to create your own page. I go over pages and page templates in Chapter 4, but for now, you can just pick a basic page template to work from.
If it isn't already selected, click the Page Templates tab located at the top of the dialog box. Off the bat, you see various types 01 page templates, separated into folders. You also see two standalone pages above the folders, one of which you use lor this exercise. Now you have a page to start drawing on, as shown in Figure The blue lines you see on the page are the print guide. These help you know what area of the page is safe to draw on and what art will be cut off by the printer.
I break down the print guide in further detail in Chapter 4. After you have a new page created, the next order of business is to draw! The rest of the figures you see in this chapter demonstrate the type of work you can do in Manga Studio, but this is as good an opportunity as any for you to have fun and let your imagination go crazy. Before you start laying out your page, you should set up the image layer you'll be drawing on as your Roughs layer.
This is a good practice to get into with not only this roughs layer, but later on as you add new layers for inks and other effects. Using your mouse or stylus, make sure that the image layer is highlighted.
It's marked Layer on the palette. What you want to do now is set the layer up so that you will know later that this is your roughs layer. Changing its name and drawing color will help you when you start inking. When the Layer Properties palette opens, click on the Advanced View button to bring up the addl.
Now when you start drawing on this layer, all the work is the default color. You can always change the color later by clicking the Alternative Color to Black color box and selecting your preferred color. Changing the Output Attribute is useful when you're going to print or export your work. Besides, it's a good habit to get into when it comes to setting up which layers you want to use for sketching and which layers you'll use for your finish work.
At this stage, you don't need the Layer Properties palette anymore, so feel free to close it, if you'd like the extra screen space. For the purpose of roughing your page out, the delault pencil should suffice. If you'd like to change it, however, just hold down the Pencil tool button for a couple of seconds and a selection of pencils pops up, as shown in Figure Select the pencil you'd like to use from that drop-down list. Start drawing! I'm sure I don't need to go into too much detail in this step.
All you need to do is use your drawing tablet or mouse to start roughing out your layout. Figure shows what I came up with.
Using additional layers on a page in Manga Studio is much like putting tracing paper on top of a regular sheet of paper; it allows you to work on top of your roughs, while leaving the original art untouched. Refining your work on a new layer not only keeps your various art stages separate, it makes it so that you don't need to go through and erase all the rough pencil work from the finished line art.
That saves you some extra time. A New Layer dialog box appears, as shown in Figure The default settings for the layer suffice for this exercise, so you don't need to change anything here. Try not to go to crazy with layers, as it will increase the size of your file and may have an adverse effect in your computer's performance.
When done right, inking can bring out things on a page that the penciler never even thought of doing. Done poorly, inking can instantly ruin even the best pencil work. Fortunately, you can practice your inking as much as you want in Manga Studio, and you don't have to touch the roughs! That's because the inks are placed on a different layer than the roughs. See the preceding section for the steps to create new layers.
To use the pen, just click the Pen tool button on the Tools palette with your mouse or stylus. When you first start using this program, the pen defaults to its G Pen setting. This is a good all-around pen to start inking with, but it isn't the only one available to you. If you hold down on the Pen tool icon for a few seconds, a drop-down list appears with all of the other pen types available to use, as shown in Figure Just scroll through the list and select the pen you'd like to use. If you click the Marker tool button on the Tools palette, you can use its set of markers to ink with.
Once again, if you would like to see the selection of markers available to you, hold down on the Marker tool button for a couple of seconds. A drop-down list appears with the list 01 all the markers at your disposal, as shown in Figure Select the marker you want to use and ink away! In addition to the pens and markers that are set in the program, you can create your own pens to use.
Check out Chapter 14, where I discuss how to customize and create your own drawing tools. It happens to the best of us.
As you're working with your inks, a mistake is bound to happen. If this happens while penciling, you grab an eraser and remove the mistake. When inking, however, you have to grab your bottle of correction fluid, cover the mistake, and hope you won't have to fix that mistake again.
Multiple layers of correction fluid can become a problem to ink on after a while. Being able to use an eraser would be a nice thing when inking, I'm sure. This is where working digitally has its advantages. You can use the Eraser tool- that you normally use when penciling your work - on inks and practically every other drawing tool you use in Manga Studio. B To use the eraser, click the Eraser tool button located on the Tools palette.
If you're using a drawing tablet and you happen to have a stylus with an eraser tip, you can use that as well. Keep in mind that the eraser tip is the same size as your current drawing tool.
It's good to use when you want to do some precision erasing 01 an area. If you want to make a quick removal of an errant line you've just drawn, just undo it! If you want to go back several steps, you can continue to press Ctrl-Z, Keep in mind that you will only have a set number of Undos available, which you can set in the System Properties explained in Chapter The Eraser tool is especially useful when you're working with screentones.
It's perfect for removing excess tones, as well as adding highlights to a character or scene. You can use a panel layer to not only create the borders for you, but also cJean up any excess art that may have bled past the boundaries of your panels. What's great about this tool is that you can create practically any kind of panels you'd like. Whether you like to work with purely square or rectangular panels, or like to skew things up, you can make them on the Panel Ruler layer with no problems.
A thick blue rectangle appears around the inner rectangle of your print guide. That's your Panel Ruler Layer. That's what you use to shape and ultimately draw your panel borders. Using your panels as a guide, drag the tool along the panel ruler, bisecting each area into two panels, as shown in Figure Depending on how you drew the panels, the Panel Rulers you created may still be the wrong size.
The Object Selector helps you shape the Panel Rulers further so that everything matches up. Click one of the Panel Ruler edges It turns red , and drag it until it meets your border, as shown in Figure Now that the Panel Rulers match what you roughed out, it's time to turn them into finished borders.
In this exercise, I want you to keep things simple, so I have you create a simple raster layer. If you're interested in more complicated techniques, such as creating individual panel layers to work on, be sure to check out Chapter 7.
On the Layers palette, hide the Panel Ruler layer by clicking the eye icon to the left of its name. And there you go! You should now see something much like what I created in Figure As a staple of many of your favorite manga, screentones help give your page that extra pop, for lack of a better term. Tones help to add color rather, grays to your black-and-white drawing. These can help add depth to your work and give you the ability to add effects you may not be able to do with inks alone.
On the Tools palette, select the Lasso tool. Or hold the button down for a few seconds and select the Polygonal Lasso tooL. Using the Lasso tool, select an area on your drawing to paste tbe tone, as shown in Figure When you paste the tone onto your page, it's prudent to select the area you'd like to place the tone. Otherwise, any tone you paste will take up the entire page, and you'll just spend time erasing all the excess tone.
Now that you've made your selection, you can choose the tone you'd like to use. Looking at the Tones palette, you'll see two folders, named Basic and Computones. If you don't see them, click the Default folder in the Folder tree in the left pane. Each of the sub-folders within the Dot folder represents tones with a set number of lines per inch.
I explain this in Chapter 11, but the short version is that smaller numbers mean fewer lines, while larger numbers mean more lines. The 35L tones are a good middle ground. II you check out the page, you see that the tone is now placed in your selection, as shown in Figure Repeat the steps with different tone types, and you'll soon have your basic "colors" set on your page.
If you want to get trickier, you can overlap and erase your tones to create some more depth and dimensionality to the page. Check out Chapter 11 for more information and tips on how to do that. Each tone pasted on the page becomes its own layer.
If you have multiple sections of the page that happen to use the same type of tone, you don't need to paste a brand-new one each time. Just make sure that the tone you want to use is highlighted on the Layers palette. Now, when you select an area, you can use the Fill tool to fill in the screentone. Pictures are only one half of the equation when it comes to comics and manga. Whether it's for character dialogue or narration, the text of the story can be just as important as the images on the page.
I go over how to use the text in conjunction with word balloons in Chapter For this exercise, you can use the Text tool to get a feel for how to add text to the page. And an area on your page where you'd like to place the dIalogue and click it with your mouse or Slylus.
You see the Layer Properties palette open with a new text tab selected, as shown in Figure Here's where you're going to add your dialogue. It makes it easier to wrap a word balloon around the text. There's nothing more frustrating than putting a lot of effort into a page and then losing it all because you forgot to save your work. Here's my friendly reminder to save Save often.
And then save again. If this is the first time you're saving this page, the Save As dialog box opens, as shown in Figure To select where you'd like to save the file, cllck the folder leon next to the Save Location text box. The Browse lor Folder dialog box opens, as shown in Figure Choose the folder you'd like to save the page in and click OK. As you change the name of the file, the filename, and corresponding folder name change in the next text box. This is because all the pertinent information for this page along with the page file itself is saved in its respective folder.
Hopefully you remember where you saved your file, because it's pretty hard to reopen it otherwise. At least that's the only hard part of opening a Manga Studio file.
If you want to open a file you've recently worked on, you can reach it pretty quickly from the main menu. If you select File' Select the file you want, and you're ready to. You should now see the Open File dialog box that goes with your particular flavor of operating system.
When the page was initially saved, it was placed in a folder of the same name as what you entered in Step 3 0. So when you're looking for it, be sure to look inside that folder. If you're looking to save a copy ot your work to use in another program, or if you want to create a file to send to a professional printer, Manga Studio has that covered. The Export function lets you create a file in many common formats at any size you'd like. Here, you get the option to choose what parts of the page are exported such as inks, tones, or text , and which are ignored such as roughs or the print guide.
I explain these options in-depth in Chapter 5. Notice in the Export menu that you actually have two ways you can export your file. If you know the exact size in inches or centimeters you'd like to export the file to, you would choose Export Image by Size Spectftcatlon.
But because this exercise is all about exporting for the Web, you'll want to. I explain why pixels matter with Web applications in Chapter The aspect ratio of the page is locked. This means that regardless of what size you set the width, the height automatically adjusts so that the page retains the same general shape.
So when you adjust the width in the text box, the height is automatically adjusted as well. The average user has her computer monitor set at a resolution of pixels wide by pixels high, with some still going as low as by Having an image of about pixels is a safe size to cover every potentia] computer resolution you can run into, while still keeping some sense of readability.
So anything beyond that, even though you'd be shrinking the image down to pixels regardless, is overkill. Stick with 72 dpi if all you need is an image for the World Wide Web. Much like when the printer cuts off the trim area of your page for the final product, you want to do the same type of thing for your Web image.
It's good to stay in the mrndset that what really matters is the area of the page within the print guide and that anything in the trim area is expendable. When you're exporting to such a small file, using a monochrome setting results in poor quality line work, and a moire effect on your screentones for those unfamiliar with the moire effect, I discuss that in Chapter Setting the image to RGB adds enough anti-aliasing to keep the integrity and general feel of the line art intact.
Any layers you designated as Sketch layers check out the "Roughing Your Page" section earlier in this chapter to set up your Sketch layers are ignored when the file is exported, which is exactly what you want The rest of the check boxes you see in the dialog box are irrelevant for exporting a Web-ready image, so they can remain unselected.
But if you want to lind more information on what exactly those other boxes do, you can check out Chapter 13, where I go over each and everyone of them. JPEG files are probably the most well-known and often-used file format on the Web, as they produce a fine combination of image quality and file size.
Odds are, every single graphical browser created can read a JPEG file, so you may as well stick with what works. It can be. But what if you want to print only the line art, without any screentones? Setting up your page for printing gives you the chance to be as specific as you want regarding what is printed and what is ignored.
Then, when you're ready to print, you'll know that you're going to get exactly what you want. For this example, you can set up the page to include the final artwork, the bleed area, and the print guide, should you decide to put together your book yourself or send off to a professional printer. The first thing that appears, at least the first time, is the Printer Setup dialog box.
You can go through and change those settings however you want, depending on your printer type and your operating system. The Print Setup dialog box appears, as shown in Figure This is where you can get as specific as you want, regarding what is printed and what is left behind. This is going to depend on dimensions of the page file, but if you want to avoid any potential moire effect in your screentones see Chapter 11 , it's best to print your work at actual size.
If you're not able to print at the actual size, then you can choose to shrink the image down to fit the page by selecting the Adapt to the Page Format radio button.
This makes sure that all the art you've drawn is printed, including the parts that you'll trim off later. Unlike in the "Exporting to an Image File" section of this chapter, where you switch to RGB to maintain quality during image shrinking, keeping the image in monochrome when printing it works just fine.
This helps maintain the sharpness of the line art and tones, without any chance of potential anti-aliasing happening. In the Output Data Settings area, select the check boxes that refer to the parts of your artwork that you want to print.
I go over this in much more detail in Chapter 13, but basically this section helps you pick and choose what parts of the image you want printed out. For example, if you wanted to print out only the line art and text.
For layers that you have as sketches and finished art, whatever gets printed will depend on how you've designated the layers. Check out the "Roughing Your Page Out" section of this chapter to find out how you can set the layer as Sketch or Finish.
Printing the guide can help you later when you trim the bleed off the paper. All the other check boxes are irrelevant lor this exercise although I go over them all in Chapter Before you dive headfirst into Manga Studio, it's a good idea to get a basic understanding of the program. You'll find it pretty difficult to start creating the next Great American Manga if you don't know how to set up your pages properly, or scan in your artwork, or get the drawing tools set up if you're planning on going the alldigital route.
This part of the book covers all the basics you need to get your page ready, from concept to finished pencils. Chapter 4 is all about properly setting up your page and story files so that they're at the proper dimensions you want to work in. Chapter 5 covers how to scan in your work and get it adjusted properly on the page. If you're looking to use a drawing tablet to clean up the scanned-in artwork - or possibly even create all your work digitally - the chapter also covers how to use the Pencil and Eraser tools, as well as how to work with the page as though it's a real piece of paper.
Chapter 6 helps you take advantage of the digital realm, with discussion of the various layers you can add to your page and how you can quickly adjust the layers' settings on-the-fly, if need be. Chapter 7 goes over how you can divide your page into panel layers that you can work on separate from the rest of the page, as well as how to quickly create nice, clean panel borders using the panel ruler layer.
Chapter 8 talks about how you can use Manga Studio's exclusive virtual ruler feature to create all kinds of rulers and guides to assist you in your technical drawing. Finally, Chapter 9 explains how you can use selections to make tweaks to your roughs without having to erase and start over, as well as using selection layers to save your selecttons lor future use.
I would draw all my art and word balloons withln the borders 01 my ll-xinch piece 01 bristol board and then send my stack of pages away to be printed. No problem! It wasn't until I first saw my work in a book that I realized I did something drastically wrong.
Panels were cut off! Important pieces of art were nowhere to be seen! What happened? It was then that I discovered terminology that would be vital if I ever wanted to see my artwork in print - terms such as bleed, trim, and safe area. I had no idea that printing comics would be so Fortunately for you, Manga Studio helps with this very important step as soon as you open a new document.
In this chapter, I show you how to set up your pages so that you don't have to learn the hard way where your pages will be trimmed at the printer, and so on Before you can draw the first line in Manga Studio, you need to open a new page.
Admittedly, not a big surprise. Instead of a blank canvas suddenly appearing, you see a New Page dialog Box with two tabs: Custom Page and Page Templates.
If you're interested in. If, however, you're impatiently saying, "But I want to start drawing now," skip ahead to the "Selecting page templates a la carte" section.
The Custom Page tab 01 the New Page dialog box, shown in Figure , is where you'll select the size of the paper you wish to work with, as well as its resolution, finish frame, basic frame, and bleed width. Alternatively, click the New Page leon on the toolbar it's the leftmost icon or press Ctrl-N 3! A New Page dialog box appears. Notice the settings area on the left side of the dialog box and a preview area on the right.
Changes you make on the left side are reflected in the right side preview. To set up a customized page, make sure the Custom Page tab is active and then select the options you want.
The technical definition of dpi dots per inch is the number of dots that a printer can print within a one-inch line. What this means for you is simple: The higher the resolution chosen for your page, the crisper the line art and tone work will be when it's printed. The drawback to working at a higher resolution is that it results in a bigger page, and therefore a large file size.
Larger pages like, say, an ll-x-l6-inch piece of paper at dpi can be more taxing on your computer, especially if the computer is more than a few years old or you have a small amount of memory available.
So, if Manga Studio seems to be running sluggishly, try the same size paper at a lower resolution and see if that improves things,. From here, you can select your units of measurement inches, centimeters, millimeters, or pixels and adjust the width and height as small or as large as you'd like. If you prefer a preset size, the dropdown list on the right provides a list of page dimensions to choose from. I break down what each of the sizes are in Table The size of the page has limits.
You can't create a page larger than 42 x 42 centimeters approximately Select the Inside Dimensions check box to display a collection of blue lines in the preview pane. The blue lines are printing guides that assist you if you're planning on having your work printed and bound. You can adjust the settings of each frame to what you need. These guides are:. AJso known as the trim. This is the absolute boundary for your page.
Anything drawn beyond these borders won't be visible when printed. Also known as the safe or five area. This is where all the important pieces of art and dialogue go. Anything within this frame won't be cut off by the printer. You can offset this frame by however far to the left or right you would like it.
Sometimes an artist wants to extend the art to the absolute edge of the page. To prevent any possible white edges showing in the final print, a bleed extending past the finish frame is set. Make sure there is nothing important you want shown in the bleed area, or it will be lost! It's always better to err on the side of caution when it comes to the bleed width of your page.
If you're planning on having your manga profeSSionally printed, it's much better to have too much bleed than not enough. This is because the settings on copiers and paper cutters can vary from printing service to printing service. If you aren't careful, your. If you don't feel like setting up your own page, just switch to the Page Templates tab, as shown in Figure , and you have a large variety of predefined templates at your disposal.
All of the necessary page dimensions have been planned out for you, so all you need to do is choose your resolution and start working! Looking at the list 01 templates can be a bit daunting, especially if you aren't familiar with the terminology of paper sizes or what the ditrerence between Submission paper and Dojinshi paper. Don't feel bad.. I didn't really know when I first started making comics eltherf Table breaks down the various page sizes into centimeters and inches.
Size in em Size in Inches The page templates are shown in centimeters. So keep that in mind when you select your template. If you aren't careful, that piece of paper you think is 10 x 15 inches will turn out to be 4 x 6 inches! I've made that mistake on more than one occasion, so J speak from experience. Now that I've covered the sizes, you can tackle the various template types that are available to you:.
As its name implies, these are basic templates with various sizes for the canvas as well as its bleed, finish, and basic frames. These templates are available in both and dpl,. These are fan comics that are made outside the system and are sold through mail order or other means, instead of in book and comic stores. This is the same as the basic paper types, with a larger variety of sizes and resolutions. They don't have any printing frames associated with them; they're just blank pages.
The pages formatted by pixels are at a much lower resolution than any of the other templates 72 and dpi. If there are a group of folders orgamzed by resolution, choose the folder of the resolution you'd like to work In.
In the Page Settings section located above the page preview on the right side of the window , select the Single option button if you'd like only one page, or you can select the Double option button if you'd Ilke to work on a two-page spread. Say you've looked through the list of page templates but don't see what you need to work with. Or perhaps you've created a custom page but you don't want to change the settings every time you want to create a new page or worse, forget what your settings originally were!
Fortunately, Manga Studio allows you to design your own template. Now, you can create and come back to your custom page whenever you want, and not worry about having to change any settings! If you skipped the "Setting up a custom page: As you like it" section earlier, now is your chance to go back and review how that section works, because the New Template dialog box works exactly the same way.
The Page Template Settings dialog box appears, which is almost identical to the Custom Page tab you see when creating a new page. Refer to Figure See the earlier section, "Setting up a custom page: As you like it," for details on these settings. When you save the template, the resolution and page size become fixed. You can't go back and change them. So, be sure that this is the size you wish to work with! That's not to say that everything is locked up on your new template!
You can still edit the size of the basic frame, finish frame, and bleed area at any time. Follow these steps to view your new template'S properties and make any adjustments or view the properties of the preinstalled templates:.
Now you can adjust the template's frames, bleed area, title, and memo. With the preinstaUed templates, you can select only the units of measurement. It doesn't change any dimensions but at least helps you lf you're used to metric or imperial umts. If you've made a mistake in your template creation, no problem! On the page template menu, there's a Trash Can icon. Just highlight the page you wish to remove and click the Trash Can, as shown in the margin.
That's all! You can adjust the properties of the page you're currently working on at any time by double-clicking the Print Guide and Basic Frame Layer on the Layers palette. You'll see a properties tab appear similar to the page template properties. You won't be able to adjust the page's resolution or physical size. As you work on your page, you may find that the template settings you created or opened from one of the default templates aren't quite working like you originally expected.
So, you make your adjustments to the print guide, add and adjust a few layers I cover how to do this in Chapter 6 , and you're all set to go. If you're planning on using these settings for future pages or stories, however, you don't want to have to readjust the settings all over again, do you? Especially because the New Template dialog box doesn't give you the option to add and adjust layer settings. Click the OK button, and your template is now saved in the User folder of your page templates, ready to be reused again and again!
Just like when you use an existing template, you can't adjust the physical size of the page. So, if you're working on an 8-x-IO-inch page, it will remain that size when you save your new template. Manga Studio provides a great organizational tool for those who may be working on a book or a chapter of a book.
Creating a new story allows you to have as many pages as you need in one convenient place, Now, instead of opening an individual page to work on, you can open a story, select your page from a list, add and delete pages as needed, create two-page spreads, and preview how consecutive pages may look when placed together.
Alternatively, click the New Story leon on the toolbar second from the left , or you can press Ctrl-Alt-N: The New Story dialog box pops up, as shown in Figure It's just like the one used for creating a new page custom pages or page templates , except that there is a new group of settings available called Page Settings:.
This is where you enter the number of pages you want for your story or chapter.
The drop-down list provides a selection of choices, or you can enter your own number. This setting depends on how you would like the book to be read. If you're going for an authentic manga style, where the reader reads from right to left, choose Right. If you'd like the reader to read from left to right, choose Left. This determines what the starting position for the first page of your book will be.
If you'd like the first page to start on the right side, choose Right; for the left side, choose Left. This gives you the option of either keeping each page in the story separate Single or joining them together by twos, so you can spread your art over two pages Double. Check out the "Setting up a custom page: As you like it" and "Selecting page templates a la carte" sections in this chapter.
Enter the name of your story tnthe Name text box, located in the Save section at the bottom of the dialog box. A new window appears, containing thumbnails of all the pages you've created for your story. All you need to do now is double-click your mouse on the page or pages, if it's a two-page spread you'd like to work on, and it opens in a new window! What happens if you're working on your story and you realize that you have too many pages or not enough?
Manga Studio has that covered as well! Alternatively, right-click Control-click on the Mac a story page and select Insert Page. Or dick the Show Menu button on the toolbar and select Insert Page. The Insert Page window pops up.
You can't choose a page size different from what you already selected for your story, but you can choose the number of pages you wish to add. Enter the number of pages you wish to add in the Insert Page combo box or select a number from the list provided. Having your pages centrally located in one story file is certainly a convenient means of keeping your story together. But what if you want to include. Manga Studio gives you that ability with the Change Story Settings dialog box.
This dialog box gives you the option to add items like the author or story name, page number placement and format, and so on. Even more, you can choose to add that info to only one page, or to all the pages in the story file at once. With the Change Story Settings dialog box open see Figure 44 , you can now insert the following information onto the story file. Inserts the story's title, episode number, and subtitle to the page. Additionally, you can choose the placement of the information lower left, center, or right on the page.
Inserts the author's name to the page. Additionally, you can choose to place the author's name on the bottom left, bottom center, or bottom right 01 the page. When selected, the page number is placed and formatted within the print guide of the page.
You can add a prefix or suffix to the page number, set the starting page number, and set its placement on the page bottom left, bottom center, or bottom right of the basic frame.
You can choose to save both the content and placement together, just the content, or just the content placement. Left unchecked, the info and positioning you entered will be saved to the currently selected page.
Before you get too far along, though, it would probably be wise to know how to save your newly-created work. By default, saving a new document immediately brings you to a Save As dialog box. Here, you can name the page or story , choose where on your computer you'd like to save it, and choose to save a separate copy of your work if you want to save different versions of your art, for example.
Saving frequently is the most important thing you can do in Manga Studio. Your computer or program can crash unexpectedly, taking your art along with it. It can be very frustrating to work on an intricate piece of art, forget. So save frequently! You'll thank yourself in the long run. It's funny; when I sat down to write this chapter, I couldn't think what to write for the introduction.
Then it hit me When you don't have a starting point, you've got nothing. For the purposes of Manga Studio, the starting point is your rough draft. It can be a quick sketch done on a sticky note, or it can be a blank canvas waiting for you to apply your first strokes on your tablet with the Pencil tool. In this chapter, I explain how to import art into Manga Studio using your scanner, as well as how to import art files you may already have on your computer.
If you plan on penciling digitally or you just want to touch up your imported roughs, I explain the ins and outs of your two new Manga Studio friends, the Pencil and Eraser tools. Finally, I explain how you can easily treat this digital canvas like it's a physical piece of paper with the Hand, Rotate, and Zoom tools. Maybe you're like me, and you're raring to use your mouse or drawing tablet and start sketching away with the different tools Manga Studio offers.
The following sections show you how to import your work from a scanner or from an electronic art file. You have the option of using your scanner's settings. Try each ofthese outto see which will produce the best result. Heck, you may find that using both will help!
It's a lot easier to ink your work from crisp pencils than blurry ones. Scanning ata higher resolution and scaling it down to fit the page hel ps. I go ove r sea I ing in th e "Adjusting the image size" section, later in this chapter. If you're newto the world of scanning, it can be a bit tri cky to import yo ur ima ge into Man ga Studio properly.
Here are a few tips to help make sure you get the best-quality scan possible.