With all due respect, from an amateur’s perspective, I feel like if it’s a style like Fujiko F. Fujio, it should be doable in an hour.

>>4

Seriously, what is everyone doing about this?

Are you still doing it the hard way?

>>55

I’m doing it as it is, and it’s intense.

It depends on the style, but if you cut corners, it will be blatantly obvious.

Is this desk a copy?

>>5

If you look at it with the three-dimensional intersection method, the shadow lines all overlap, so it’s a copy.

Is this page a joke about cutting corners by using a copy?

If you think in terms of manga, the time-consuming issue is more about content than the art style; within that range, you have composition and panel layout.

The final output design isn’t a process that has such a big difference, or rather.

It’s nice that my brain works well for calculations like this even when I’m super sleepy.

Not good.

>>12

Authors who can sustain a weekly serialization for a long time probably have a solid grip on that.

I have to make sure the working hours with the assistant align precisely.

If I push myself, I’ll completely break down by next week.

Perhaps it is Professor F’s personal experience.

I can only draw two pages a day.

>>15

How many hours are you working?

>>16

About 10 hours, I guess.

I’m struggling a lot because I’m not used to the background.

I want to quickly become someone who can boss around an assistant.

However, at least the fact that dropping a series could end a manga artist’s career has been true both in the past and present.

>>18

In the past, it seemed like Mr. Monkey wouldn’t make the deadline.

If I break my little finger, the editorial department might forgive me… I seriously thought it could be that way.

>>21

Wasn’t it your arm?

>>21

You must be really serious, huh, Monkey Sensei…

There’s no way I would cut a writer who can create tough work just because they missed a deadline.

It’s obvious, but if I don’t write it myself, nothing will take shape…

Art is just a collection of lines, and it becomes annoying…

Once I’ve roughly drawn it to some extent, the AI will fill in the rest nicely!!!

5 hours per page, around 1 hour per section?

Is that so?

Drawing manga is really tough, after all.

>>20

This is still quite fast.

Jiro Taniguchi overdid it with the background detailing.

It took a full two days to complete one page.

People who have never drawn manga often think that creating manga or drawings is easy, but…

Actually, it’s a task that takes much more time than I thought…

It’s a weekly writer or an abnormal level of speed.

Without any assistance, even Rohan Kishibe only does about 20 pages a week.

>>28

Is it a monster?

I can only manage one page a day.

>>30

Drawing one page a day is impressive.

>>34

Sorry, I was just trying to save face. It actually takes 2 or 3 days.

>>37

Honest and admirable!

>>41

I’m sorry, I lied. It takes about 2 to 3 days, and I only do the work about once every three months.

Although the serialization was dropped, the top-class popular writers Fujiko Fujio are both names.

I lectured those two, but the manga god keeps dropping them multiple times.

Even if we assume you can draw 1 or 2 pages a day,

That is only if the content to be drawn is already decided.

Usually, coming up with a name is the most challenging part.

>>32

Drawing can be done as a “task,” but creating names isn’t quite the same…

Mistakes in the drawings can be excused as mere drawing errors, but mistakes in the story can sometimes be fatal.

Not dropping the manuscript is really important, isn’t it…?

It’s tough when the original story doesn’t come in, even if the original and the artwork are separate, because you can’t draw the illustrations without the original.

>>36

Ignoring the original work, you go ahead and start drawing!

>>36

Let’s draw it freely…! The person in charge might get hit by the teacher…! But it won’t affect me…!

>>40

There are quite a few people here who think that what Kazuhiko Shimamoto says is the truth of the world.

That can’t be true.

>>42

There are hardly any famous manga being serialized now, except for something like Aoi Honoo.

If it were a decade ago, Bakuman would have fit into this slot.

No matter how beautifully a manga is finished, if the story is boring, it means nothing.

I believe that the name (storyboarding) is the part that should be given the most effort in manga.

>>38

I think it’s quite a crazy environment that as a weekly writer, even spending all my time on the drafts, four days is the limit.

People who can draw interesting manga in such extreme conditions are really amazing…

I heard that Tezuka was really fast at drawing.

The experienced manga artist completed in one stroke what would normally take two steps, resulting in an astonishing overall speed.

The average level of drawing has improved significantly.

Manga has always felt like the interesting ratio has been consistent.

I realize that pictures and comics are really different things…

Tezuka was juggling up to 11 serializations at most.

Of course, the editors couldn’t make it in time and were waiting for multiple drafts to come in.

By the way, Fujiko Fujio has a maximum of 7 serializations a month.

>>45

I’m sorry, but the text provided does not contain enough information or context for translation. It seems incomplete or nonsensical. Could you please provide a more complete phrase or sentence?

nin

I really want to praise the nameless person who is advancing their work by drawing manga.

The fact that you’re doing the work itself is an amazing thing…

The name is also doubles as the scenario and layout, so the workload is just absurd…

Do you need a name?

Current manga is moving towards increasing quality with 1 to 2 serializations.

It might be possible if it’s just a manga with old-style flat characters and deformed designs, but now it’s no longer feasible.

There are indeed manga artists who start drawing without needing a name, but relying solely on their intuition can be a very special talent that often leads to burnout or results in incomprehensible content due to self-poisoning.

>>58

The renowned nameless direct-draw artist is Fujiko Fujio A and Akira Miyashita.

>>98

Let’s add Akira Toriyama as well.

Eliminating drafts will increase working time!

It takes too much time to draw a comic panel with the effort it takes to create an illustration, and more than anything, it tires out the readers, so it’s best to simplify the less important panels appropriately, but finding that right level of simplification is really difficult.

I may be a beginner, but I think the name is the most important.

40% of the working time is spent on names.

>>61

If you cut corners on the blueprint, it will cause problems somewhere in the subsequent work.

Even if the background can be reused in the thread image, the characters cannot.

Tips for drawing manga quickly

Not drawing the background.

>>63

I was surprised that the background in Fuma no Kojirou has almost no effect at all.

>>63

Not drawing a background is certainly not a bad thing either.

If you overdraw, it can sometimes become difficult to read.

>>63

I thought it might actually be true, but it’s a skill that only people with high theatrical skills can handle.

It will be simplified more and more until it is discontinued.

Such a manga

In Tezuka’s era, he had multiple weekly series, so the level of busyness was truly different and cannot be compared to now…

I think even Oda-kun has a lower workload compared to manga artists of this era.

It is unreasonable to not depict the background at all, but as long as there is no scene change, there are parts where you can get away with saying that it hasn’t moved from the background drawn at the beginning…!

Recently, there have been assets in Clip Studio and home designer tools like My Home Designer.

It’s a good era because there are so many 3D materials available…

Even if there are many assistants, if I don’t take action myself, there won’t be any work to hand over to them.

Fujiko Fujio has experienced being sidelined because they once made a grand mistake.

Let’s leave the name and inking to the dedicated assistant…!

It’s good, isn’t it?

If you put in a little half-hearted effort, you’ll easily win by sheer desperation.

The works from the time when the writers of Tokiwa-so and the generation below them were writing a certain number of pages or works each week or month are legendary tales.

After all, compared to other periods, there are works where both the characters and backgrounds are obviously simplified.

There are works that have reduced pages, so it’s not something we can compare to today’s manga artists.

It seems like it would be faster now since it can be simplified with AI.

I remembered Super Editor Ryotsu.

There are rare people who can draw without a draft and can finish in under an hour.

There are also strange people whose painting method is unique and faster with color.

It’s often said, but Akira Toriyama’s technique for skipping tedious tasks is amazing.

I didn’t notice anything while reading.

I’m so bad at drawing names that it takes me an terrifyingly long time.

>>85

I think there are hardly any people who are good at creating names.

Everyone seems to be struggling and wringing it out of their heads.

It’s not just about drawing the background densely.

If there are backgrounds in every panel, it can be difficult to see.

Draw it so that it doesn’t become too white while still clearly showing the scene… well, it’s mostly a matter of sense, isn’t it?

>>86

The co-authored book “The Principles of Manga” by Kaoru Mori, Aki Irie, and editor Wataru Ooba provides a technical explanation of the necessary background, areas to omit, and parts that shouldn’t be drawn, relying on skill rather than intuition, and it was very helpful.

>>90

Just the fact that it’s Dr. Mori makes it really convincing…

>>86

It’s impressive how people who can draw clear backgrounds without cutting corners are really skilled.

If you’re doing it alone, even one page a day is really amazing.

Even if it’s just a super short comic like four pages, trying to draw one will show you how difficult it really is.

Suddenly the background is white, but did I end up in some weird space? If someone points that out, it means they don’t really understand the way to read it.

If you draw the background before and after, even if the panel where they’re just talking has a white background, you can still tell where they are.

>>89

It’s easy and nice to keep having conversations with one character per panel and speech bubbles in a bust-up.

It turned out like a four-panel comic, but oh well! I’ll just accept it.

I think it’s not really humanly possible to draw weekly, so there are times when the story falls apart.

>>94

I think it’s unavoidable to take breaks occasionally… actually, breaks should be taken.

It would be sad if the names were strange and the consistency was messed up, leading to character breakdowns.

In the past, typesetting work was also done by cutting and pasting paper, so it was quite tough.

>>95

At the exhibition, there are raw manuscripts, but when I see them heavily corrected with white-out and cut and pasted, I feel overwhelmed.

The name is the backbone of the story, so that’s quite challenging…

Akira Toriyama strongly emphasizes elements for cutting corners, but there are also many parts where he writes in great detail, so his quirky author personality comes through strongly.

Recently, there are times when I take photos, edit them, and cut corners on the background.

It’s not mainstream, but there are also outputs from 3D models and AI generation.

The last time I measured it took 8 hours.