Drawing manga takes a huge amount of time…

Let’s take a closer look at the background, everyone.

>>2

>>4

I’m seeing more and more comics that are just sticking 3D materials on without even trying to blend them in anymore.

It’s nice with AI.

I remember Deadpool said something about skipping background reading.

I forgot the details, but

I want to see more samples that are less polished!

The trace is the most superficial.

>>11

Rather, it simply has fewer entries.

There is no variation in the strength of the lines.

That’s because it takes the least amount of time.

I think it’s rich even just for the background that explains “this is XX after the scene has shifted.”

When it comes to the level of Katsuhiro Otomo, the backgrounds are amazing! and you can’t help but look.

>>16

If you haven’t reached that level, will people not think anything of you…?

>>19

If you’re just at a level that’s normally good, it will only be a mere background…

There are several scenes that I can think of that are amazing, but since amazing scenes don’t even make up 1% of the whole manga, I wonder why they draw something like this every time?

“It would be fine with a classroom or materials, seriously.”

Even Mizuki Shigeru, after he became successful, had his assistants draw background materials during their free time and then cut and paste them when needed, so I guess as long as the atmosphere comes across, it doesn’t really matter what it is.

When I read Jiro Taniguchi’s K2 in a collector’s edition size, I was overwhelmed by the beauty of the backgrounds.

After that, reading “The Summit of the Gods” in paperback size wasn’t that great, so the medium must also have an effect…

>>21

A paperback is almost completely ruined, isn’t it…

>>21

I understand that Katsuhiro Otomo doesn’t want to digitalize and only puts out big titles, though…

If you’re going to draw that much, it makes sense that it has to be a large format.

My explosion effect has been like fried chicken for about ten years now.

Katsuhiro Otomo’s artwork is incredible even with the background included! Those who read it take a good look at the background as well.

That’s why manga that isn’t like that doesn’t get seen much.

I think it’s fine to be casual unless it’s something that sells with a well-developed background world.

Writing on the screen increases the density and gives a sense of richness, but…

>>25

I want a sci-fi with a world view like that of Nihei Tsutomu’s manga, along with a background.

As long as you know the basic location, it’s fine for slice-of-life manga and such.

When you see it at an original artwork exhibition, you realize they were spending such analog effort on a weekly serialization…!? Are they sane?

As for the thread image, it lacks appeal as a picture and is just information about what kind of place this is.

There was an episode where they extensively used background materials in KochiKame.

It seems difficult to convey the world-building in high fantasy or science fiction if the background isn’t properly depicted.

Conversely, it might be that only people who like that kind of background will draw it.

Speaking of which, the great wilderness is quite meticulous since it’s by Otomo.

Since it’s post-apocalypse, the background is important.

It’s hard to draw, yet no one sees it even when I do.

But if you cut corners, you’ll get criticized.

That is the background.

>>33

I feel like it’s not that noticeable if the background is white from the beginning.

If I don’t know where I am, that would be quite troubling.

Understood… I’ll directly attach the photo background like in Tsudanuma Fighting Street…

>>35

It’s also quite often the case with Makoto Kobayashi.

As I continue reading, it doesn’t bother me that much.

>>46

At first, it might be concerning, but if the story is interesting, you get used to it, I guess.

The other day I properly drew the background, but since I used the line tool to draw the lines, it feels so bland—I’ve come to realize that myself.

Even though it’s a loose style, I didn’t realize I was using so many materials for the arms and legs until it was pointed out to me…

>>38

Humans are made to have their awareness prioritize strange things…

I knew it would take time, so I’m somewhat relieved.

There are things that you might not notice unless someone tells you the background is amazing…

It’s a manga, but it’s not being sold as just a picture.

When it’s too white, I’ve seen it ridiculed multiple times.

A realistic background without any flaws tends to stand out less, you know…

I remember there was research that investigated human gaze while reading manga, showing that readers mostly focus on the speech bubbles.

People who aren’t bothered by shortcuts are good at managing pace.

Usuta was that type too…

They’re also good at seamlessly integrating photo materials like Dandadan into the screen.

>>50

Blending photographic materials is quite a remarkable skill.

Especially, the art style of Dandadan matches the characters perfectly, which is amazing.

If you draw too much without thinking, it becomes hard to see.

>>53

There are occasionally comics where you can instantly tell where the protagonist is and what they’re doing, even when the entire panel is filled with writing.

I’ve been thinking lately that it’s awesome.

I feel that if the background is too shabby, it can draw attention away from the main subject.

Specifically, I can’t remember, so maybe it’s okay to be vague.

>>54

Manga that doesn’t put effort into backgrounds often doesn’t depict them at all in the first place…

There are some places where it’s okay to understand what is being depicted.

I was reminded of Horii-senpai from Nozaki-kun by the assistant in the background.

Edo-style elves need to have a few more face material patterns added.

When I read it all the way through, a lot of the same faces keep coming up.

I don’t really see backgrounds that are beautifully drawn with a straight line tool.

It won’t be a hindrance and the amount of information will increase, so that’s good, but whether the extra effort makes it more appealing as a manga is another question.

I want a background even if it’s just for the first panel where the scene changes.

I think it’s amazing that they’re drawing that every month, even though the backgrounds are one of the distinguishing features of Hakumei and Mikochi.

Honestly, being a manga assistant is a profession that will disappear in the next 10 years.

>>65

Even now, the ability to manage 3D materials and quickly provide materials that creators need is still valued, so I don’t think assistants will be disappearing anytime soon.

I want you to put effort into drawing the background after a summer rain.

Especially erotic manga.

To be honest, I want mainstream web novels and manga to rush through the storyline and cut corners on the backgrounds and other things.

>>67

I don’t care about the background or the story; I just want boobs, butts, and faces to always be in the frame.

>>67

A manga with a completely white background will also drive readers away.

I will strengthen my drawing skills at the Monkey Factory.

Well, in the future world, AI will take care of everything…

You should change jobs to an assistant that uses AI.

If you’re not good at it, that particular aspect starts to stand out instead.

If you’re good at it, it’ll be easily overlooked, and that’s tough.

3D materials are much easier than AI.

Perhaps even with the improvement of AI technology at this pace, it cannot surpass the vast amount of 3D materials.

The background of Yotsuba was once burned into my brain, and I thought I would try to imitate it.

If I try to draw that properly, won’t it take like 10 hours for one big panel?

>>77

Is it genius that someone can draw that in just 10 hours…?

>>77

It probably takes about 500 hours at this pace, right?

I used to hear people say “BLEACH” and “white white,” but I thought it was easy to read and good.

In the first place, the white background is cool.

I was rereading Bleach and realized that there was more background drawn than I remembered.

I was surprised that the backgrounds in MF Ghost and the distant scenery were all photos.

Are you really going to do that with a picture!?

However, the car is cool with neat handwriting.

People… um…

No matter how hard you try, the background doesn’t really get conveyed to the reader.

>>84

Too many similar replies!

>>89

It’s a backgroundless support for the thread from behind.

Recently, the proportion of fantasy works has been increasing due to the influence of the Narou genre.

Looking at the background, I can see that there are really very few excellent assistants.

>>85

There are few people who can paint background scenery.

>>85

The excellent assistants are pooled between major publishing companies and their manga artists.

A freehand background can produce a good atmosphere as long as it matches the style, even if it’s not perfect.

>>86

It’s very limited to people who can do it.

In terms of both design and technique

Was there one where suddenly, out of nowhere, the side characters disappeared to the point it felt deserted? It became obvious that the author had dropped out or something…

Everyone evaluates the characters, but the background just doesn’t cut it.

Band recruitment: There’s quite a difference in popularity for the vocalist role.

I am aware that there is a big gap between not being able to do something and simply not doing it.

When you pay attention to the backgrounds in Akira Toriyama’s artworks, the perspective and proportions are all over the place, yet there is no sense of discomfort.

Compensating with a sense of style.

When I read it a second time, I’m quite surprised by how many parts I didn’t notice during the first reading while looking at the pictures.

A background that doesn’t draw attention is a good background, I suppose.

It’s a tough job.

>>94

Unless it’s a main panel for the background, the correct impression for a regular panel is zero.

Since I’ve never drawn backgrounds before, I often think it’s amazing that something properly finished comes out even when my specifications are all over the place.

Strange things are often made into jokes here too.

Fantasy creatures and landscapes must be tough to create, huh?

Modern buildings probably wouldn’t be noticed even if the same building appears in different manga, or rather, people wouldn’t realize it.

>>99

I feel that someone like Tsukushi, who used to work in character and monster design, has a unique flair.

>>103

With the spread of digital tools, even someone like me who is not skilled can create manga, but when I see professionals, I really feel the difference.

>>99

It wouldn’t be bad to have a creature specialist assistant, but in a “narou” system, it would lead to a deficit due to the assistant’s fees.

There are times when I think that in a fantasy story from Narou, if the background is poorly drawn, it’s fine to just use a 3D asset as it is!

I don’t really think much about the material, but when something incomprehensible is presented, it actually catches my eye.

I like freehand drawings of trees and rock walls, but I hate drawing man-made objects to the point of feeling nauseous.

The 3D asset looks very cheap when output as is, so I would like it to be processed a bit more.

I get that it’s a time-saver, but…

The background will stand out if it doesn’t match the style of the illustration.

It seems like if I become a specialized assistant for drawing backgrounds, I won’t have to worry about going hungry.

I think you can earn a decent amount.

>>109

Skilled professional assistants are said to earn more than writers in that area.

I thought the background of the manga at Sanjusangendo was amazing.

The graphic novel is more worth watching.

If you’re made to draw various existing creatures every time, rather than fantasy ones, it usually ends up being quite a big deal…

>>112

There are quite a few people who like to draw animals, so I wonder how that would go.

Even in popular youth magazines, there are cases where they just stick photos on directly…

If it’s bad, I want to point it out, but even if it’s done well, I just skip over it.

When will AI be able to specify perspective and angle?

When reading something like Geo Breeders, the scenes where buildings are destroyed in combat provide the most exhilaration, so I feel it’s more enjoyable when the appearance of the buildings before they are destroyed is well depicted.

If the background is well done, it’s just atmosphere, but if it’s poorly done, it stands out more than the character, so it will be heavily criticized.

A guy like the bassist of a band.

Sometimes, veteran writers are doing comic adaptations.

When I see things like that, I feel the overall skill of the manga’s layout.

Isn’t it more likely that we will first enter an era where AI creates 3D assets and those 3D assets are reused?

Whether or not there is a sense of discomfort is probably more important than skill level.

I often see 3D backgrounds that have strangely thin lines and stand out in a bad way in comics.

Is it really not possible to take the time to overlay lines and incorporate them into the manga artwork?

It’s a terrible story that you won’t be praised for a good background, but if it’s strange, it stands out.

>>123

It’s a comprehensive thing that cannot be separated, so it can’t be helped.

>>123

There are quite a number of such jobs in the world, so it’s fine.

If the background is too good, it won’t match the manga’s art style and will stand out awkwardly.

>>125

It’s troublesome if Fukamoto’s manga has backgrounds like Takao Yaguchi’s.

>>125

There are some mangas where the author puts so much effort into the characters and the background that the characters end up not standing out.

There’s no need to focus too much on aspects that are only appreciated by peers in the industry.

You can use live action or free materials.

People working in 3D effects won’t go hungry.

Everyone wants to play characters, but there are definitely roles that affect richness and are subtle.

>>129

It’s that time of year again when the issue of too many aspiring character modelers is getting a lot of attention at school and work.

It’s probably not a good thing to stand out at the unit level of division of labor.

If you are a fast background modeler, there will be many people eager to hire you…

Even if the background stands out like Shigeru Mizuki, it can still be treated as a specialty.

Recently, I was really impressed by the amazing background in “The Library’s Great Mage.”

It’s impressive how that is utilized in the two-page spread.

It’s fine to just casually look at the background.

I want to see an episode of Minami-ke with an extremely detailed background.

I want to work in a workplace where tracing is allowed.

I hear that Okure has a workplace like a factory with dozens of assistants.

It feels like there are more backgrounds featuring towns in other worlds surrounded by walls full of places to poke fun at.