>>7404732
Some western / indie publishers of Manga:

Saturday AM ( https://www.saturday-am.com/ )
> Digital indie magazine, seems to be on the up-and-up
> Open submissions for long-form series; also distributes series currently being published elsewhere.
> Regularly publishes one-shots, making it a good potential outlet for already-finished work.

Oni Press ( https://onipress.com/ )
> Technically indie, but at this point large enough by comic standards to be mentioned in the same breath as other publishers.

Antarctic Press ( https://antarctic-press.myshopify.com/ )
> Longtime large-indie publisher of OEL / manga-esque books.
> Seemingly taking submissions at present if http://www.antarctic-press.com/html/submissions.php is anything to go on.

Yen Press ( https://yenpress.com/ )
> Started out as a small indie publisher of original / Korean material, and has grown reasonably popular since.
> As of 2016, it is also one of the western arms of the Kadokawa Corporation, with Kadokawa owning a 51% stake.
> Editorial inquiries can apparently be sent to yenpress@yenpress.com, however, they apparently are not open to new submissions at this time.

Viz Media / Viz Originals ( https://www.viz.com/originals )
> *The* western manga publisher.
> Currently in the exploratory stages of setting up an English label.
> Submissions are open and several books have been announced. However, progress on the label seems to be moving very slowly.
> Still might be worth a shot anyway.

Shrine Comics ( https://shrinecomics.com/ )
> Small indie manga publisher
> Seemingly attempting to make the transition to physical volumes
> Allows crossposting to other sites

Iconic Comics (https://www.iconiccomics.com/)
>A bit like Oni Press and Antarctic Press
>A small publisher with a focus on indie works with manga inspiration

>>7404733
Other open comic publishers:

Dark Horse ( https://www.darkhorse.com )
>Dark Horse still welcomes your submissions, and all submissions will still be reviewed, just as they always have been.
>All unsolicited story/series proposals must have a full creative team on board. Writer-only proposals will not be reviewed.

Image comics ( https://imagecomics.com/ )
>Image Comics only publishes creator-owned material. They do not contract creators; they’re only interested in publishing original content for which you would retain all rights.
>Image Comics publishes creator-owned/creator-generated properties and THEY DON’T PAY PAGE RATES. Image takes a small flat fee off the books published, and it will be the responsibility of the creators to determine the division of the remaining pay between their creative team members.

Drawn and quarterly ( https://drawnandquarterly.com/ )
>Please email a low resolution PDF with at least 20 pages of comics and cover letter to submissions. Do not send dropbox links, scripts, or proposals. Please read our submissions FAQ.

Fantagraphics ( https://www.fantagraphics.com/ )
>submission page: https://www.fantagraphics.com/pages/faq

Top Shelf Productions ( https://www.topshelfcomix.com/ )
>Regarding submissions, we're easy. Just email us a download link of what you'd like us to review. NOTE: We cannot accept cover letters, plot synopses, or scripts unless they are accompanied by a minimum of 10-20 completed pages (i.e., fully inked and lettered comic book pages).

Additional publisher lists:
> https://jasonthibault.com/definitive-list-comic-publisher-submission-guidelines/
> https://writingtipsoasis.com/best-independent-comic-book-publishers/

>>7404736
Current Contests:

Silent Manga Audition 22 "Seized With Rage":
https://www.manga-audition.com/

Worldless World Manga Contest:
https://wordlessmanga.com/eng.html

Global Comics Awards 2024:
https://en.mangadraft.com/contests/global-comic-awards-2024.en

Webtoons 2025 Contest:
https://www.webtoons.com/en/notice/detail?noticeNo=3321

Mangano:
https://manga-no.com/mangano_award_1st#rules

/mmg/'s very own anon-led anthology: /ic/onography
https://discord.gg/QYnFBves7V
https://forms.gle/d3a2Cwwd44sJYyqv9
(Anthology project is defunct but the discord is alive)

Additional community added Resources:
Mangafonts: https://mangafonts.carrd.co/
Hiro Mashima YT: https://www.youtube.com/@mashimaCh/videos
Ganmo, a job listing board for manga assistant work: https://ganmo.j-comi.co.jp/posts

How (You) can help /mmg/:

> Know about a contest or a publishing opportunity? TAG THE OP and post a link.
> Have a new resource? TAG THE OP and link / mention it for inclusion.
> Have a link / DL for a mentioned resource? TAG THE OP and mention what you're supplying a link for.
> SCREENSHOT / PASTEBIN effortposts that help you for posterity.

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I'm currently 25 yrs old, living with my parents, NEET, learning Japanese and practicing manga all day. I want to make a living with manga someday, publishing in Japan.

How delusionally fucked am I? Give it to me straight

>>7404746
Post your work. That's the only thing that matters. If your work is insanely popular or good, then the Japanese will happily have you do work for them regardless of foreigner status.

>>7404752
let's just take the best case scenario that I"m insanely good.

Even if that's the case, I realized that the Alice-anon in the last thread first showed up in /mmg/ in 2020 talking about his editor and the series he was working on. 5 years later, his serialization is still not finalized, despite the editors being pleased with his work. That's absolutely fucked. 5 fucking years before you get to live full time from this work? That's the longest job interviewing process I've ever heard of

>>7404759
Keep in mind that what every person goes through is not going to be the same. Not all publishing houses are the same, not all editors are the same. What might be the case for Pornanon is not going to necessarily be the industry reality for Aliceanon, and neither cases might be the reality for you in a hypothetical world in which you start talks with a Japanese editor representative. What kind of genre are you even aiming to enter anyway?

>>7404765
>What kind of genre are you even aiming to enter anyway?
I know manga artists get started on weekly serializations, but my dream is to just do full graphic novels, 10-12 chapters until a finalized end. Tragic, dystopic sci-fi stuff is what I'm most interested in. For reference, Hoshi no Koe is one of my top favorite manga, along with 3 days of happiness

I feel like the barrier to entry is lower on stuff like that, because it's most no-name artists transforming a well-known novel into manga, and that stuff doesn't sell as well as Shonen Jump, so they might be more wiling to take a chance on an unknown artist who might turn the work into a flop. idk if that's just my omoikomi though, I barely know enough Japanese to listen to manga conferences on youtube, let along contact any kind of agent or editor about these kinds of things

sorry for bothering you wtih my rant. thanks for responding to my posts

>>7404759
>let's just take the best case scenario that I"m insanely good
Then I'd say you're chances are better than most.
There are plenty of nip publications in the OP that do regular contests, with prizes from everything from money, to getting your foot in the door with meeting industry vets. Start pumping out that insanely good work of yours, and people will notice.

But for those people who aren't as insanely good as you, that's where the delusions arise.

>>7404799
thanks fren. time to get insanely good then

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>>7404746
Identity thief is not a joke, anon

>>7404746
>practicing manga all day
Don't just "practice" manga. MAKE manga. From start to finish. If you want to go pro then it'll take years to get there, but you can do it as long as you get well accustomed to actually making manga. Sounds like you're in a solid position to do that, so do it.

>>7404759
>I realized that the Alice-anon in the last thread first showed up in /mmg/ in 2020 talking about his editor and the series he was working on. 5 years later, his serialization is still not finalized
Because he's trying to go big from the start. He's trying to enter into a mainstream serialization. That's not your only option. You could start smaller, publishing irregularly in a smaller publication. My first work was published around 7 months after I first started working with my editor and most of those 7 months were drawing the chapter and then waiting for it to come out. This is in ero manga, but there's plenty of small publications out there that aren't porn.
* Note that my editor advised me it would probably take over a year to get published when I first started talking to him. I guess I must have exceeded expectations for them to publish me so quickly.

>>7404772
>my dream is to just do full graphic novels, 10-12 chapters until a finalized end
That's very possible to do. Even larger publications do short run manga.
>I barely know enough Japanese to listen to manga conferences on youtube, let along contact any kind of agent or editor about these kinds of things
Dude if you know enough japanese to listen to conferences at all then you're already better at it than me. You already have more than enough knowledge that language won't be an issue. Quit looking at your glass like it's half empty. Look for ways you can make it work, not reasons it couldn't work.

>>7404839
>Because he's trying to go big from the start. He's trying to enter into a mainstream serialization.
*while working a day job. He's only working on his manga in his time off right now.

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>>7404839
bro, you are the chaddest poster in this thread. thank you

>you're already better at it than me.
honest question though, do you do video calls with your editors? I would constantly fuck up my grammar and forget words if I had to do a professional mochikomi session with an editors, I think, and that would reflect badly on me and maybe make them want to not publish my work. How did you get around this?

>>7404846
>do you do video calls with your editors?
Sometimes, but that's because I asked to so I could get some japanese practice in. All our communication is through text, and even in the video calls we mostly stick to text other than for affirmatives.
As long as you've demonstrated that you can make a compelling reading experience it won't really matter if your japanese kinda sucks. At the end of the day all you need to do is get the idea across to your editor who can fix it up to sound nice, and it's not like they haven't had awkward meetings before with japanese authors. I could be a bumbling retard on call and it wouldn't matter because we can work together through text just fine and the end result is solid.

>>7404849
thank you, this is really encouraging. good luck wtih all your work

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>>7404501

Elizardbeth
Saramander
Charlomeon
Aliceator
Ivuana
I can keep going by the way

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What do I have to do to learn hatching and rendering like this?

>>7404855
There's nothing special about the technique itself here, you can easily copy those lines if you just zoom in and examine them.
However, the composition and values is what makes this look impressive instead of just being a mess. He separated each element of the composition into layers: the airship and the big rock spires, then the smaller spires behind them, then the distant spires, then the mountains way off in the distance. He separated these layers both with value (leaving the foreground spires relatively light, toning the spires in the distance and the mountains) and leaving white space between the elements of each layer to visually separate them. Then he made sure to use the darker end of the value scale to pull the eye down the the lower half of the page where the focus is. It's all composition and values.

>>7404855
That hatching isn't great at all. It's a good composition, and the screentones really bring it out, but not a good example of hatching.

We have an anon here who does way better.

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Finished the first draft of my next chapter, and my brother who works in publishing agreed to give it a look. He's really busy though, so no idea when he'll get the time. Think I'll start putting in some work on the storyboard regardless, as I'm feeling the itch to keep going.

>>7404935
That pile of leaves look great, did you use ref?

>>7404937
Kinda, just literally looked up "pile of leaves" on Pinterest to get a feel for how they can look. I tried to strike a balance of fully drawn leaves and scribbles where you fill in the blanks on your own.

>>7404949
Looks very natural anon, really fits.

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getting close to finishing my 5th chapter

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Commission comic of client's OC girls wrestling topless

>>7404863
>>7404915
Interesting insights, thanks much. It seems I have much yet to learn.

>>7404949
How do you figure out where to draw detailed leaves and where to leave scribbles? And how do you determine the density of detail to add before it gets too messy? I always struggle with noisy things like foliage...

I think someone had asked when csp was going to give clippy for log in, well i just saw their post announcing their log in bonus until jan 27

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I will never be a real mangaka. I'm too lazy. Even storyboarding feels like a monumental task...

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>>7404855
Just be autistic bro.

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>>7405195
We can go further. We've barely breached the surface of the autistic hatching iceberg. Embrace the autism. Inhale it. Live it. Be it.

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>>7404855
yeah I would agree that here the crosshatching is sloppily made but it's passable, Otomo is cracked at rocks if you're interested in a more orderly style of hatching

>>7404855
>>7405234
Are these AI? Or at least using AI reference.

>>7405237
Otomo published that page in the 80s

>>7405237
>anything nice and detailed is AI
Bruh.

>>7405203
Whomst

>>7405275
Gustavo Doré. https://en.wikipedia.org/wiki/Gustave_Dor%C3%A9

French artist that did a whole bunch of everything but is primarily known for his prints. His arguably most famous works are for doing scenes from the Bible and for illustrating Dante's divine comedy (Inferno, Purgatorio, Paradiso).
>Doré never married and, following the death of his father in 1849, he continued to live with his mother, illustrating books until his death of a heart attack in Paris on January 23, 1883.
Homie was an OG neet lmao. A crosshatching god.

>>7405281
Ah Miura studied him no?
I couldn't find any good websites where I could find dore's art in good quality, it was all shitty photographs. Where did you find it?

>>7405312
>Miura studied him no?
>MIURA: I appreciate both Bosch and Escher, of which I have also the collections of the works. Moreover I like the etchings of Pieter "the young " Bruegel (1564-1637/8, author of obsessive representations of infernal scenes) and Gustave Dore' (1832-83, sculptor, illustrator and French painter, famous for his illustrations of the Divine Commedia) while among the illustrators I admire Frank Frazetta (1928, famous illustrator and American cartoonist) and Luis Morrison.

As for getting Dore's art in decent quality I just filtered for high resolution in my search engine results. If that fails, Dore's own wikipedia page has a few decent-enough resolution scans of some of his work.

>>7404954
Thanks!

>>7404977
Honestly, it always feels like a struggle when I'm doing foliage. In this case I focused more on the outline of the pile and the part where the leaves overlap Pris, the girl. For the rest I somewhat haphazardly draw some distinct shapes and scribble in the areas around them. I also keep zooming out to make sure it looks okay from a distance. It's hard to describe, but there's a mix of mindful drawing (defined leaves) followed by more instinctual drawing (scribbles), if that makes any sense.

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FLCL and q-ko-chan have some of my fav art. Also, as of today I finally fully finished 200 pages in a year! Have about 5 sketched for chp 23, and a couple scripted for chp 24!

>>7405345
>I finally fully finished 200 pages in a year!
Congrats anon, that's a huge number!

>>7405345
Quit mogging us anon, you big fat jerk.

Also I haven't really read anything you haven't posted here, so give a link

>>7405347
Thanks! It's definitely a lot of work, but noone else is gonna make it for me! I have it planned out to be 3 vols long total... so I'm almost 2/3rds there.

>>7405348
It's on most platforms, but webtoons took down chp 1 for "nudity" and will prob take down chp 22 once it goes live hahaha.

https://mangadex.org/title/b2a9bce4-a95e-4c6a-b79f-87993289db57/oswald-the-overman-in-the-lesser-planes-of-hell

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>>7405281
Dore is okay, but we can't talk about printmaking without mentioning the GOAT, Albrecht Durer.

>>7405484
I kneel

>>7405484
your time would be better spent going to literally any history museum and looking at even the shittiest prints up close in person instead of this blurry shit

>>7405195
Dedication is not autism. Patience is not autism. Persistence is not autism.

>>7405561
Not getting jokes is autistic though

>>7405564
You're right, I shouldn't defend beneficial traits when they're reduced to "autism".
Not playing along with jokes isn't autism either btw.

>>7405561
My brother in Vilppu, it's 4chan. Moreover it's /ic/, specifically /mmg/ of all things. Everyone jokes about being touched by the 'tism as a placeholder for enraptured focus here.

>>7405585
i used to think artists were autistic, but wait until you find out what computer scientists have to do to land jobs. I saw a video of some 40 year old jobless neet who grinded algorithms for 10 years in his mother's basement, hoping to land a job with FAANG, but never succeeded

>>7405585
No, not everyone. In fact, at least one of us is pretty tired of the whole "serious dedication = autism" angle.

>>7405559
All my hi res ones are too big to post on 4chan, dumbass.

>>7405599
A potential work around would be to host it on /hr/ and then link to the image that way, but that's so much extra work.

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Can I post concept art? I haven't started my little one shot yet, i'm still drawing the characters and getting references and such.

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>>7405658
the protagonist

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>>7405237
Are you fucking retarded

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today was a rough day

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>>7405766

>>7405766
Then drawing the light of the Lord is a good choice.

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>>7405773
indeed

>>7405813
If chapter 6 done? I feel dumb for not having anyone bookmarked. Im reading Oswald anon right now, but I'll look check on your stuff if you updated it.

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I'm doing a "loose" adaptation of one of my favorite western movies.

>>7405823
Two months ago
>>7405832
With this we have 3 stories about cute girls in the woods

>>7405836
>With this we have 3 stories about cute girls in the woods
I know. It's more of a side project, I'm still working on Jack Money. I just needed to draw change of scenery. But forest are a headache, which is why I was asking the other anon about leaves.

You ever seen the Clint Eastwood movie altarusia anon? I wouldn't be surprised if his movies were popular in Brazil.

>>7405844
how long does it take you to do those hair highlights? It always seems like that's the hardest part of drawing a character to me

>>7405860
Actually drawing them... maybe 15-20 minutes per drawing? But they're a headache and I often redo it a couple of times. Still don't really feel happy with a lot of them, including that one, so I might end up redoing a lot of them again when I go back for revising pages.

>>7405875
Nta but I saw you post some stuff, and it looks like csp is more user friendly for screentones. I'm looking for an excuse to drop PS. You ever mess with it?

>>7405881
>You ever mess with it?
With CSP or photoshop?
I've always used CSP for manga (since 2014 back when it was called Manga Studio, even) but I have dabbled with PS for some other shit. Never seriously considered using PS for manga, CSP is just better for it in almost every regard. One is made for the task, the other is not.

>>7405884
PS I meant. Yeah, I learned PS because of graphic design, but I hate Adobe. I saw your tutorial on CSP screentones, and I want an excuse to drop this. I might try CSP out, since I rarely do design anymore.

>>7404732
https://medibang.com/mpc/episodes/9b2412060655129180014994102/

what do you think of this?

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>manga making general
出る釘は打たれる

>>7405884
can you repost all your tutorials please?

>>7405859
>You ever seen the Clint Eastwood movie
Which one? I did watch some of his movies. I was addicted in western movies when I was a kid

>>7405916
Kek it was a very fun one shot

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>>7403803
>>7403967
Thank you so much anon!

>>7405823
we need an Anon Jump or something

>>7405995
The Outlaw Josey Wales

>>7406107
that'd be fun to motivate people to churn out something more often

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Random storyboard
Onimai chapter 63
Normal page: https://files.catbox.moe/dvt73g.png

>>7406107
I love the name. I might do a mock up cover after work

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>suddenly get a bunch of notifications from a manga/comic hosting site
>????????
>login to investigate
>some user took the time to go to every single page that has any level of skin showing (partial or full) and just commented "nice"
>across three entire chapters
T-thanks user, y-you too lol.

>>7406233
Nice

>>7406233
people really want to see your characters naked

>>7406233
man's on a mission, give him purpose

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>>7405982
I've only made this.

are you serializing, son?

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if I manage to get a work published, out in the real world, on the shelves, will I finally get the validation and love I didn't get as a child/ teenager?

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>>7406237
>>7406280
>>7406376
I'll ramp up a bit of fanservice come next chapter then, once this current one is over. Audience is always right in matters of taste plus it doesn't hurt the story at all.

>>7406519
Why women do that?

>>7406519
who is this slut?

>>7406589
Image search gets you to a (deleted?) tumblr post
>Liara Roux is an American author, sex worker, pornography director, internet personality and sex worker human rights activist.

>>7406594
She was a good girl. Ma's apple pie, 4th of July...
SHE WAS A HOOKER!

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>>7406594
>Liara Roux is an American author, sex worker, pornography director, internet personality and sex worker human rights activist.[1][2]

>Roux is a high-end escort[3] and supports the "decriminalization and protection of consensual adult activity including queer and sex worker rights and safety worldwide".[4] In their view, sex workers can be described as a marginalized group, who were endangered by SESTA and received no benefits from it.[4] Roux was prominently against Tumblr's decision to ban porn from their platform.[5]

>They have written for Vice Media and HuffPost. Their first book, Whore of New York: A Confession, was published in October 2021.

>Roux is both queer and genderqueer. Roux has stated that they use "she/her pronouns in advertising as Liara Roux, but I use he/him/they/them in my personal life".[6] They were diagnosed with autism early in life.[7]

>>7406667
>moderately attractive girl reads comics
Of course she had autism bro. More than likely molested as a child as well.

>>7406709
Great tones

Drawing on 600dpi to print is heavily filtering me, and I'm considering just finishing my comic to be posted on web. How do you do it bros? I'm using a 10-inch screenless tablet. Any exercises to help get used to drawing on large sizes?

>>7406787
Just do it. It's only difficult to you because you're used to swimming in the kiddy pool. Can't keep drawing in low-res forever.

>>7406787
Zoom out

>>7406519
>>7406667
>Roux is both queer and genderqueer. Roux has stated that they use "she/her pronouns in advertising as Liara Roux, but I use he/him/they/them in my personal life"
lol I had a friend that looked exactly like this escort here, and I remember one time I was wanking it on gif and saw a webm of Roux and completely lost my boner cause she was the girlfriend of another friend of mine.
she was an artist, I never told her I drew, she wanted to make comics out of highschool but I don't think she ever did, she went off to art school and she now is a trans man

>starting comic
>calculate completion time as one page a day
>draw two pages in a day
>next day draw another two
>draw nothing for a week
>wrench out another page somehow
damn

>>7407062
the better you get, the faster you'll be <3

somewhat off topic, but why isn't there a red letter media type channel for comics (afaik)?
is it just not interesting to people to dissect the medium that way?
in the late 90s-early 2000s there was a (more serious) late night tv show where people analyzed strange films and on occasion did anime, and I thought it was really interesting

>>7407206
That could be interesting, but it would need to be done by a pro. Someone who could mog the artists they are scrutinizing.

Mike and Jay can make films, but they aren't great film makers. But when it comes to film, it's common to have respectable critics who don't actually work in the medium. (but some directors might argue otherwise)

But in my opinion, if you're going to do breakdowns like this, and you cant actually do better, then you would just be a crab channel, and I would have no interest

>>7407228
no, you're not gonna remake a comic, that's dumb, an understanding of the medium is what's needed

>>7407228
critiquing is a skill divorced from skill in whatever you're critiquing
nobody cares if you can write or direct or whatever, what matters is whether you understand what you're critiquing and whether you can competently analyze it (and whether you're entertaining)
visual artists are basically the only group that gets butthurt about other people's visual art being criticized and will play the "well can YOU do better???" card in some sort of preemptive defense mechanism against imagined criticism against themselves, the audience doesn't care

>>7407228
Hilarious. Why is it acceptable to be a critic and not a creator of every single artistic medium except comics?

>>7407206
>/mmg/ podcast
This week we're talking about Altarusia with special guest Oi! anon.

>>7407228
That's not what crab means

>>7407228
You don't need drawing skills to critique art, you only need eyes.

And as I have seen countless times, the real crabs are the ones with YOUR mentality, keeping yourself down wallowing in mediocrity because your instinct upon receiving any kind of criticism is to look for something to attack from the critic instead of considering the statement itself. You don't respond "PYW" because you want some kind of 'proof' the person is a better artist than you, you want to shit on their work as retaliation for your buttpain at being critiqued. I have watched retards here shit on historical masterpieces because they believed it belonged to the person who critiqued them.

>>7407228
RLM mostly got popular off of the Plinkett reviews, which are over-the-top critiques being filtered through a caricature mouthpiece. Something akin to the Angry Video Game Nerd, where there are some real critiques and grievances, they're just dialed to 11 for the humor.

Most of their regular reviews are kind of whatever when they're just reviewing movies as two guys in folding chairs going back and forth, and a lot of the complaints can be boiled down to "Mainstream blockbusters bad, indie movies good."

They're not really great filmmakers, but because they're such big fans of like, schlocky pulp B movies they can wrap up their inabilities to really make "real" movies in a dressing of "Its supposed to be bad". Which is, again, like AVGN or someone like Doug Walker (Nostalgia Critic), and lots of other guys who went to film school, but realized they couldn't really do anything with it other than play characters lampooning bad movies through skits and other low budget projects.

>>7407235
>>7407247
>>7407268
Well clearly I'm in the minority here.

You would all watch a critique breakdown from someone who cant draw. Hell, maybe I'll start the channel myself since I'm beg anyway.

>>7407279
art is the least relevant part of a comic, and the art sucks almost by necessity for weeklies

>>7407286
For american comics, I 100% agree

>>7407289
I don't even know if american weeklies are a thing, weekly manga looks like absolute shit

>>7407289
story>paneling>>>>>>>>art

>>7407206
There are. Many. Done by pros even. Either the viewership ain't there or there just anybody good enough at it to get big.

>>7407246
>visual artists are basically the only group that gets butthurt about other people's visual art being criticized and will play the "well can YOU do better???" card in some sort of preemptive defense mechanism against imagined criticism against themselves, the audience doesn't care
To be fair, for some reason visual art also gets criticized for things that straight up are not flaws. I've seen critics point out supposedly badly drawn feet in a Liefield drawing, I look at the feet and think "wtf is supposed to be the problem here". Things like that can lead one to get frustrated with people who literally can't tell what's actually an issue in a work and what's some small detail that the critic found annoying to them personally for some arbitrary reason. While one doesn't need to be a good artist to be a good critic, you'll definitely look like an absolute moron when you just nitpick irrelevant details like you're Cinemasins or something. Having experience and knowledge actually creating for the medium does lend your words more weight.

>>7407295
>weekly manga looks like absolute shit
Go read Rokudenashi Blues and say that again.

>>7407305
>There are. Many
why would you say that and not list them as if you thought I wouldn't ask

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>>7407247
It's not. Remember this sheila was on the national governing board for breakdancing.

>>7407309
Cartoon Kayfabe (well, not anymore) and inkpulp were the ones I was thinking of. I'm certain there's more out there. Especially when you expand the criteria to include podcasts and stuff that talks about comics without necessarily being reviews of comics, like Comic Lab.

>>7407228
This post really shined a light on all the little no draw cockroaches, lol.

>>7407318
>Cartoon Kayfabe
*Cartoonist Kayfabe

>>7407315
That's a medium like fidgetspinners are a medium

>>7407320
More like the retards who don't understand they're making entertainment for an audience and not their discord of /beg/s

>>7407324
This is an Olympic level medium.
Until the day they add speed painting to the list, we can only stare in awe.

>>7407327
And the audience doesn't care about good art. R-remember one punch man! I can make it as a beg!

>>7407338
People literally defend AoT as good art because "good art" is whatever they like, dumbass. It really, really doesn't matter, how new are you?

>>7407341
>People literally defend AoT as good art
NTA but do they? I've only ever seen people shitting on it for its artwork. I've even found myself coming to the defense of it because people would shit on it far harder than it deserved.

>>7407341
>"good art" is whatever they like
Great appeal to the masses. You're gonna make it

>>7407344
Yes, you might want to step outside the bubble of /ic/ where we now unironically shit on Murata's art

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>>7407341
>People literally defend AoT as good art
That's your argument?

>>7407345
a great appeal to the masses is literally how you make it, thoughbeit

>>7407345
>I made it because my comic isn't popular

>>7407345
The question was literally whether the audience cares about art over the other components of a comic, what kind of rebuttal is that?

No comics or manga have ever been successful with great art but a dogshit story / characters

However the opposite has been true hundreds of times over. Comics are a storytelling medium first and foremost, and the art only needs to be good enough to serve the purpose of conveying the story and characters. Anything beyond that is for the artist's own indulgence

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>>7407387
>No comics or manga have ever been successful with great art but a dogshit story

>>7407403
Fairy Tale has the ace card of its cute girls, though.

>>7407403
>great art
come the fuck on
it was popular specifically for its story, because japs are forever alone and yearn for friendship

>>7407387
While that's true. The problem is that people just use that mindset as an excuse to be lazy and not try.

>>7407438
It's definitely a cope, and I was somewhat guilty of it myself.

>>7407438
there's nothing lazy about making a comic
you only have so much time, getting tunnel vision and spending it where it's not the best utilized is detrimental to what you're doing
there's a reason you get assistants to draw for you and not write for you

>>7407449
The comic will be as good as the effort you put into it. If you want to produce 1 subpar page a week and pray an editor magically appears and swoops you up. Then best of luck to you, bro.

>>7407463
see, I say one thing and you make up a retarded scenario in your head instead so you can win an argument

>>7407449
For those of us who don't have assistants, what should we do?

>>7407387
>However the opposite has been true hundreds of times over.
Ah, so this general must have some amazing stories, since the art is dogshit.
Honestly, that sounds even more pretentious.

>>7407499
>I don't have builders but I need to build a house, wat do
realize you're not going to be able to build the same house as a bunch of builders, duh
expecting to accomplish some epic tour de force as a literallywho with no experience or comic to his name is a good way to never make a comic

>>7407504
your newfag is showing

>>7407506
I'd say it's perfectly reasonable to make an epic tour de force as a single creator. You simply have to adjust your output schedule expectations

>>7407504
What anyone in the general does or does not have is irrelevant to what I stated. Again with this "if you can't do it then it's not possible" shit.

>>7407438
>>7407463
Realistically, the difference in art quality between maximum effort and cruise control is kinda marginal because comics are a lot of drawings, not an outlier, mileage is what matters most. A mediocre artist isn't going to produce a notably better looking comic, and a good artist isn't going to make a shitty looking comic by taking it easy. They might get a panel here and there looking notably better/worse, but overall you're not gonna willpower your way into skill, the only real way to make a comic with better art is to make more comics.

>>7407506
>I don't have builders but I need to build a house,
I would make a very small house, or spend the money to hire people. That being said, if I'm going to make a small house, I'm going to make the best damn house I can, and I'm going to make sure my craftmanship is top notch. It would be retarded of me to make a house if I have subpar skills

>>7407510
>You simply have to adjust your output schedule expectations
that's where
>good way to never make a comic
comes in
you don't exist in a vacuum

>>7407520
Taking longer to complete =/= never making something you fucking retard.

>>7407516
I'm not necessarily referring to the effort into each drawing but more broadly. Are they doing everything they can to get published? Because this argument feels like a massive larp. People who can't draw hands worrying about deadlines that don't exist and assisstants they don't have.

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https://youtu.be/zmgrcKcPoGY

this isn't anything important, but I just learned there are over 200 manga magazines in japan, 100 further online-only manga magazines in japan, totalling in about 300 manga magazines for all of japan

idk why im posting this here. maybe just for motivation or information's sake. for those of you learning japanese to be a pro mangaka, there's lots of room for you. at least, way more than just marvel and dc like in the US

>>7407679
According to """google""" there are only 4,000 full time mangakas in Japan
So that ups our chances, since it's only <13 pros per magazine

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>>7407679
>>7407755
there's no doubt comics are more appreciated in glorious nippon. But comics on the web (world wide) is very popular too.

>>7407579
life gets in the way

>>7407270
It existed. His name was Linkara. He was part of the TGWTG crew, and a complete joke.

A classic example of "I didn't make it as a creative, so I became a critic so I could still engage with the medium I still loved by wasn't good enough to make it in."

Linkara had a comic. It was complete shit. Most critics are often that, people who aren't good enough to be creative, but still want to pretend their feedback matters. Manga/Anime is in fact full of people like this. Pretentious assholes with no talent who need to validate their opinions.

Fact of the matter is, I used to watch a lot of anime critics in the past, until I started creating myself. I quickly realized pretty much all of their opinions were completely useless. They don't make critiques to actually provide useful feedback for creative. They simply make content to entertain and fellate their own egos. And a critic who can't provide useful feedback to a creative is useless.

I disagree with most takes here. You don't need to be a creative to have an opinion. But if you're gonna go around acting like some sort of critic who's opinion should matter, then yes, you absolutely need to have experience, and preferably even success.

I don't give a rats ass about what some ween on YT has to say about how to make a successful manga. But I absolutely do care what editors and Mangala have to say about that same topic.

>>7407925
Linkara's not really a critic, or at least I never thought of him as one, he's to comics what Spoony was to video/board games, they're just the subjects of his nerd videos that he uses to rant and have gay skits. The entire TGWTG crowd was basically just about trying to make memes based on various media, now that I think about it.
>They don't make critiques to actually provide useful feedback for creative
Critiques were never supposed to be that, you're confused by the /ic/ usage of the word. Critiques are primarily an academic evaluation of a work for the audience (then other academics, today the general public).

>>7407957
He called himself a critic, which by today's standards, seems to be enough for most people, given that RLM is being brought up as an example.

>Critiques were never supposed to be that, you're confused by the /ic/ usage of the word. Critiques are primarily an academic evaluation of a work for the audience (then other academics, today the general public).
I'm not confusing it at all. Most people today don't really turn to critics for their content unless they're super into a particular medium, and are looking for recommendations. Manga has that, with several awards for new up-and-coming manga, and yearly awards for very popular or successful manga.

The thing about critics, is exactly the point I'm bringing up, they always engrandize their opinions as "more enlightened" because they (usually the reason they give is that they've consumed a lot of the medium - see Digibro, Gigguk, etc.. etc... etc...), and they often believe themselves to have the merit or value to make something really good if "only they put effort into it, or had the funding, etc...* That's the whole reason their opinions are treated like that of an expert by general audiences. Because they present themselves "as enlightened as a creator" but simply lacking the opportunity for success. It's the excuse and that veil falls apart when it comes to manga, as literally anyone can make mange regardless of opportunity or funding. The critic stops being a critic the moment their actual talent can be put on display to be judged the same way they judge others' work. And the thing is, they bring this upon themselves by the way in which they talks about the medium they review. Often going more in depth into it that a layman would need in an attempt to present themselves as "more enlightened." But again, the moment you start creating yourself, is the moment you see how worthless their wordy essays about the medium, ACTUALLY are.

>>7407957
The irony of it all too is, that they would come off as a lot more reliable and earnest, if they simply said, "I like this, and this is why I liked it." And "I didn't like this, and this is why." Fully embracing the fact that it's their subjective opinion, rather than making a 40 min long video essay on why K-On is ART or SAO is garbage or Kimetsu and JJK are mid, or whatever, and then claim that their opinions are infallible because they are """"OBJECTIVE"""" because they are """"CRITICS.""""

That's my entire problem with these sorts of people, and why I fully agree with the other anon who was saying "Yeah, you wanna act like some objective analyst on why something is good or not, then you better put up some work and show us your credentials through success in the medium."

Again, you don't need to be an expert to have an opinion, but the problem is the types of people to call themselves critics also like to pretend their opinions are objective.

>>7407968
RLM actually analyses shots, angles, lighting, focal points, etc
Granted, not terribly in depth, but they do consider technical aspects of film making.
It's probably been 15 years since I've seen a Linkara video, so I might be wrong, but what I remember is him doing a surface level take on the story and then grasping onto some "silly" thing and screeching like a monkey, I think there's a palpable difference there.
Note I don't consider RLM very good and think their taste is shit, but they do approach the medium in a way that's not 100% taste or fandom sperging.
>The thing about critics
I'm not necessarily disagreeing, but when talking about a multidisciplinary media like comics or movies, you should bear in mind that lacking skill in one area doesn't mean someone isn't more apt in another or doesn't have a point even they're not. I'm gonna use a movie example just not to cause butthurt to anyone by using comics, but just because you can't direct half as well as Ridley Scott doesn't mean you can't identify issues and offer better solutions to the script of Prometheus. Maybe you couldn't even write a script from scratch that could compare, but when you have a thing in front of you, you can see issues the person who made it evidently can't, much like you might be blind to the eyes on a drawing being misaligned, but a random nodraw can see it at a glance. Him being a nodraw doesn't affect the eyes

>>7407975
>RLM actually analyses shots, angles, lighting, focal points, etc
RLM's most scathing critiques of the prequels iirc, were due to plot and dialogue.

It's been a while since I watched them, but I remember disagreeing with many of their takes, even back then. It felt extremely personal and subjective, and when they failed to point that same lens toward the sequels they pretty much lost all credibility in my eyes.

Like, iirc, one of the critiques of the prequels was the use of CGI... completely obfuscating the fact that George Lucas LITERALLY pioneered most of the techniques in use today.

Plus, when it comes to plot, they fell down the same fallacy that a lot of online critics tend to fall into: ignoring the target audience. Which is especially egregious here considering George openly said many time "they're movies for kids." Which wound up being true, as a generation after the peak of RLM, the Prequels saw a lot of people come to their defense. The kids who grew up watching them, ended up loving them.

Are the movies flawed? Yes.
Did they deserve the backlash they got from critics like RLM? Absolutely not.

cont.
>I'm not necessarily disagreeing, but when talking about a multidisciplinary media like comics or movies, you should bear in mind that lacking skill in one area doesn't mean someone isn't more apt in another or doesn't have a point even they're not.
Again, but the feedback they provide isn't particularly useful. That's the point.

Once you start actually creating, you start analyzing that medium incredibly deeply yourself. I watch a watch a video essay on "why Kimetsu is actually trash because all these plot reasons" or "Why Kimetsu is peak because, all these reasons" neither is particularly useful, because neither has provided me with any particular meaningful or in-depth insight. I don't care whether someone thinks something is good or not. I want an in-depth look at the techniques, construction, and execution in play. One good example of this problem that comes to mind, is TotallyNotMark, and his lengthy reviews on manga. I watched several of them, and while he would reference plot structure, and such, his actually insight into the subject matter was so surface-level it's complely useless and only serves to reinforce his opinion. Not to mention, NONE of these people know Japanese, and thus, can't actually critique the dialogue in the language it's intended. For example, the Japanese prose in Kimetsu, is actually really good, and part of the reason for why it caught in so fast in Japan.

Meanwhile, compared to Mark, I could write several lengthy in-depth analyses on the opening chapters to My Hero, Fire Force, and a couple others, going in depth on their strucutre, pacing, and various emotional beats, and why they WORK in a way that's actually constructive for anyone wanting to write an opening chapter to a manga in that style.

I could look at the first 10 minutes of Cyberpunk Edgerunners, and tell you from a mechanical standpoint what each scene and beat and line of dialogue are doing, and why it works so well at building the protagonist and themes.

Point being, there's a huge gap in reasoning and understanding between someone who has analyzed media as a creative in order to understand the techinques and learn from them, and someone with zero experience actually creating. I say this as someone who used to really enjoy listening to video essays and critiques, until I started creating myself.

Lengthy posts, cause this is a topic I am quite passionate about, and it is something I've thought about a LOT for several years now. I used to really enjoy listening to these people, and used to think that I would be a better creator because I was coming at it from the point of view of someone who looked at media critically and listened to people like this.

1. not only did it actually hurt my growth at the start, but 2. I quickly learned how shallow most of their takes once I started learning how to write stories myself and actually started to improve at the craft. Nowdays, I actually really dislike critics, because I find most if not all of them to be really pretentious and shallow. And I disagree with the other anon who was saying that they're intended for audiences. I disagree with the entire notion that we need experts to tell us what we should consume. Personally, I follow people similar tastes as me, and they like something, I consider checking it out. That's it.

I don't care if something is good or not. I only care if it matches my personal tastes based on previews. Then I form my own opinions. Even poorly made media has merits, and has lessons they can teach you or ideas you could use.

>>7407992
Then why don't you.

>>7407998
Because I'm making manga and don't need to be a critic.

For learning, I want to copy drawings pretty close to the source but I don't have access to screentones. So just dip pens + brush pens.
Could you guys recommend modern mangakas that don't (over)use screentones? Ideally someone who draws traditionally and with excellent art. Good quality scans should also be easily available on the internet, possible hi-res official rips.

Some possibilty:
- Akira Toriyama - Dragon Ball: his drawings are a bit far from my ideal and too muscly
- Hideaki Sorachi - Gintama: the early-middle part of the manga (his best stuff) has no good scans on the internet as far as I can tell, later parts up to finale use much more screentones and has worst art
- Nobuhiro Watsuki - Rurouni Kenshin: faces look pretty weird, I just noticed it when I looked at it closely, the effects are excellent though
- Oda - One Piece: the official scans look really good, but I don't want to copy One Piece
- Inoue - Vagabond: too high level

Examples of other mangakas that I think have perfect art but unfortunately use a lot of screentones:
- Tanabe Yellow - Kekkaishi
- Naoki Urasawa: it's my ideal, but he pretty much use screentone as much as he can
- Mitsuru Adachi

>>7408040
Akira Toriyama.

>>7408040
Tite Kubo.

>>7408010
are you? where's your manga?

>>7408047
kubo is unironically one of the best mangaka to study, bleach is the epitome of how to design a weekly manga, absolute highest achievable ratio of hack:appeal

>>7408040
How can you even show nighttime without screentone gradient? Complete black? That would look ridiculous. How about colored items/clothings? Just go digital.

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>>7408168
why not just take one of the mangaka listed and see for yourself? you have capacity for critical thought, right?

>>7408168
You sound like you don't have much of an imagination.

>>7407228
>>7407279
I wish it wasn't an unpopular view, but at the same time I can see why it is.

It's 100% true that someone who does something (e.g. artist, chef, engineer, etc) has little reason to care about the views of someone who doesn't, and the advice of anyone with experience matters far more than some literal whos, but when a layman gives a thoughtful critique then it's at least worth taking into consideration.
The real issue is most people don't even attempt to give thoughtful critiques, and yet still go apoplectic when someone replies with a mindless "pyw" to their mindless shittalking-- something a professional is far less likely to do because they know how unnecessary it is to point out minor hiccups in a field of art that's bound to have numerous faults and is largely based on individual taste. Like the other anon said about Liefeld; many non-artists look at his work and just assume he can't draw rather than he makes a conscious choice to have his art look a certain way to fit his style of storytelling (cheesy over-the-top superhero stories).

Also, try checking out Strange Brain Parts and ComicTropes. The latter is often fairly surface level but is friends with a few big names like Robert Kirkman and is a comic proof-reader and artist himself (and his videos showing the life and growth of different artists are great).

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>>7404732
have always wanted to make a short hentai douj, so I'm giving it a shot
never really did anything more than sketching a single panel of mango before so it was definitely an exercise in perseverance

I'll see how these go, and continue the story if I can manage well enough
i knew manga was hard but my brain legit was dead after

>>7408261
This totally checks my fetish boxes. I can draw manga, but I cant draw coom, because I lose interest instantly. Post nut clarity kills any interest I have in it.
But you should draw it.

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>>7408258
I've had my work reviewed by professional comic artists (Richard Friend for one) and you may be surprised how exacting and attentive to detail like that they can be. I would suggest to anyone looking for a real critique, simply contact a real comic book artist. Most of them now have a Patreon and will give you a review for a small fee. I got full video reviews that were very helpful to improving my work, or at least bringing my attention to the right places.

>>7408261
See I'm not a "pyw" fag, but if I do get idiosyncratic advice, I'm going to want to know how your work looks. I've also never asked anyone to PYW.

Advice and criticism is great, that's why Im here, but I'd personally take redline threads any day.
Not only can they give you advice, but they can show you.

I'd take 1 good redline anons advice over 100 beg/mid criticisms. But yeah, this thread didn't like that that idea. Which is fine, I guess technically good advice can come from anyone, but why wouldn't you want a pro to give you that?

>>7408266
I didn't even think about this. I would totally pay for a review, thanks.

>>7408266
this looks awesome, care to share any specific tips he gave you?

>>7408258
>It's 100% true that someone who does something (e.g. artist, chef, engineer, etc) has little reason to care about the views of someone who doesn't
it 100% isn't because the people who don't do it are the only thing allowing them to pursue it, you dumb cunt
you are never ever going to be a comic artist with that attitude

>>7408278
This. If you draw for other artists, other artists will be your only audience.

>>7408258
>a chef has has little reason to care about the views of the people eating his food
Even in the realm of food allegories, this is stunningly stupid.

>>7408281
>wanting to be a better artist will make regular people not interested in your art
Good point. I'm going back to stick figures, I'm going to be the most popular artist in the world

>>7408283
>why dont the best chefs in the world just make the goyslop that mcdonalds sells? they sell more than anyone
Are you telling me 300+ Amerimutts are wrong? Nice try, rabbi.

>>7408266
What are some artists people can get these reviews from? Or where to find them? Is it just patreon? I'd be interested but I don't even know where to start looking for them

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>>7408289
>doubles down on retarded food analogies
michelin star chefs are literally selling hotdogs with ketchup, nigger

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>>7408276
It was a while back, but mostly on panel flow and inking, and being very clear on what action was happening across the page. He showed me some sticking points where readers may get tripped up and have to stop to study a scene to understand it, which interrupts the flow and may throw them. My inks weren't great and he pointed out a lot of unfinished / unpolished areas that didn't seem like much on their own, but all together can drag down the look of a page back into amateur territory.

>>7407988
>RLM's most scathing critiques of the prequels iirc, were due to plot and dialogue.
>It's been a while since I watched them, but I remember disagreeing with many of their takes, even back then. It felt extremely personal and subjective
I think you're taking those reviews too seriously. Like I mentioned here >>7407270
the Plinkett character is akin to the AVGN character. That is, while there are some legitimate concerns and criticisms, many of the things they're pointing out are actually pretty minor, they're blowing them out of proportion in the sake of skits and entertainment.

>>7407988
>when they failed to point that same lens toward the sequels they pretty much lost all credibility in my eyes.
Those prequel reviews came out in like, the mid-late 2000s. It is abundantly clear that as the years went by, RLM wanted to move further and further away from the long-form Plinkett reviews. By the time the sequel trilogy went out, you could tell they didn't even want to do those reviews anyway. They really weren't entertaining at all because they were probably close to a decade removed from the Prequel reviews (and even some of their other good reviews like the Star Trek ones) and by that point they were just going through the motions because they "had to" do the sequel reviews because they were the guys. It is abundantly clear they didn't want to do those and their hearts were in it at all.

>>7407988
>>7408322
>Like, iirc, one of the critiques of the prequels was the use of CGI... completely obfuscating the fact that George Lucas LITERALLY pioneered most of the techniques in use today.
What does that even matter? Even if they pioneered the technology, that doesn't mean they couldn't overuse it....which they did. CGI is one of those things where your eye knows its fake, and often times it doesn't look right. Now, for things like expansive alien cities, and weird looking monsters and stuff, for some of those things you don't really have an option other than CGI, but as pointed out even in those reviews, your eye knows it isn't real. CGI always looks a little off, even to this day. Its way better than it was, but the problem is that you often have like a single real actor in a gigantic green room that they CGI whole city into later, and have them surrounded by CGI aliens and other people and whatever. You brain kind of notices when a real person is interacting with people and objects that aren't really there.

One instance that he points out that I even remember as odd from one of the movies is the scene where Obi-wan is facing down Grevious, and Ewan McGregor just has no reaction to like a 4-armed, 8-foot tall robot in front of him pull out a bunch of lightsabers. Or the scene where Anakin tells Mace that Sidious is the Sith they've been looking for. Instead of having some kind of reaction and like "Shit, we need to do something about this" they just casually stroll along. Its weird and awkward, entirely because they're completely CGI scenes.

>>7407988
>>7408305
>>7408322
Anyway, the biggest problem with the prequel trilogy is that it massively FAILS the task it set out to do. The original Star Wars movies built Anakin up as a hero who tragically fell to the darkside, and then through saving his son and killing the emperor, he comes full circle and redeems himself, ultimately fulfilling the prophesy.

The Prequel movies existed to do that: To tell the tragic tale of Anakin's rise as a hero, and fall to the darkside. Instead, Anakin was portrayed as a whiny, creepy weirdo who lashed out the people who were supposedly his friends and allies and a guy who came off as practically evil from the very beginning. He did NOT come off as a guy who was a hero who tragically fell to the dark side.

Those movies deserve all the criticism they get. Practically the only thing those movies WERE good for was being a portfolio for all the crazy effects and cutting edge CGI, as you pointed out, as that was probably the strength of the trilogy, yet funny enough are still probably one of the biggest detriments.

>>7408340
>>7408334
>>7408322
unsubscribe.

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>>7408298
>This is the exact same thing anon! Don't you get it?! The customer cant tell the difference, they like it the same!
You will make any excuse to not improve your art anon, and I'm all for it.

>>7407755
there are 6000 fulltime manga artists now, if you search japanese sites

that's 6000 more mangaka than are in the US lol

>>7408334
>>7408322
>>7408340
The prequels were garbage, I think anyone that doesn't have a funko pop collection can agree on that.
I don't even see the nostalgia factor, and I was like 8 when episode 1 came out.
I guess if you just like lightsabers and big soulless CGI battles, you might enjoy them...but then you also have to sit through hours of retarded political talk, and arguably the worst romance story in the history of cinema.

The movie has zero tone, tries to cater to everyone, which ironically makes it appealing to no one.

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>>7408342
>retard doesn't comprehend plain english

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I know it's the industry standard,
And I feel like this is being dishonest, BUT EVERY SINGLE SCOTTISH PERSON DOES IT
At least on webtoons.

When in Rome I guess...
I mean Scotland.

>>7408510
are you really surprised covers are more intricate than the comic? bruh

>>7408513
Intricate is one thing, but I see stuff that's jarring Like a completely different artist

>>7408283
We live in a world where people think MSG, onions, and plastic chopping boards will give you cancer. But sure, the customer is always right.

>>7408546
soi doesn't give you cancer, it makes you cancer

>>7408546
Those people are missing out. plastic adds a lot of flavor
https://www.youtube.com/shorts/50MSmBlu94M

>>7408557
And nicely fill out your balls for the ladies

>/mmg/ - mouth morsels general

Thank god i don't know how to read

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Am I retarded, is this two point perspective or not, cause I cant work out why some of these points dont meet when they should. Perspectives my bigness weakness, so tell me if if just being stupid


its from

https://mangadex.org/chapter/89a8587e-135d-4f25-ace9-d01fb78ad9cc/2

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>>7408785
You're trying to align things that are on different axis anon. Look for parallel lines eg squares/cubes, not convergent lines. For example, there's no point in using the slanted roof as a perspective guide because they're not parallel. They don't tell you anything about the perspective.
I didn't use a ruler or anything for this so it's not exactly right but hopefully it gives you a better idea of what you're looking for.

>>7408795
thanks, that helped alot, gonna take some perspective courses or copy some books on it.
Anybody have any suggestions on what they studied to learn perspective?

>>7408510
Yeah I wouldn't read the thing based on the cover art. But I could be pleasantly surprised by the page art being gentle on the eye instead of unsettling on an existential plane.

>>7408807
Fair, but 9 times out of 10 I click on something because of the cover art

>>7408806
For a brief intro and some light exercises try pages 24-34 of Comics the Marvel Way: https://e-hentai.org/g/2346561/c14bf438ef/
For a more detailed breakdown and even more try Framed Perspective Vol 1 and 2: https://e-hentai.org/g/1557413/4ed735b973/ https://e-hentai.org/g/1556841/eccce2243e/
If you're working digitally look into the perspective rulers of whatever program you're using, but if you're working traditionally learn the "Brewer Method" to save yourself stapling a million pieces of paper together to make a large background shot:
https://www.youtube.com/watch?v=hijKqKwVRII
https://www.youtube.com/watch?v=hOepFb-Axbo
https://www.youtube.com/watch?v=UjdeFFD0ofs
https://www.youtube.com/watch?v=Hd7LNfWOjiM
If you want to do same location multiple angles then you could try using blender or sketchup to make a quick mockup of the place, but I think should just make a floor plan of the location and work on your spacial awareness to know where things go as you draw like here: https://www.youtube.com/watch?v=bcVweLEDR2A
And yeah draw a lot of boxes and especially learn how to carve shapes out of basic objects. It's nowhere near as complicated as people make it out to be, it's really just time consuming to get all the details down.
(Copied from https://archived.moe/ic/thread/7110025/#7110118)

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Getting back to it after a little breakypoo.

>>7405828
Looking forward to it.

>>7409197
I like the way hatched the elephant's trunk.

Do people actually read (pay for) one shots or a volume or two long stories?
I know a handful of succesful examples, but I don't know if those are outliers, people (understandably) mostly seem to follow long serializations
Is your chance of making a living off of shorter stories significantly lower than if you went with the typical serialization route?

>>7409327
Serialization is tough to keep up, but if you can get an audience invested it pays off better.

Doing one-shots (as in, a full-length graphic novel, not a little 45 page pilot chapter like in these contests) can be a quicker way to build a name and has a better chance of future sales I think, since like a movie or a book it's a one-and-done impulse buy and not an investment for the reader.

>>7407085
this hasn't been my experience. The better I get, the longer everything takes since I'm double checking and doing more revisions for incremental gains to improve art. I lost the ability to just draw loosely and and leave it at that. Just doing a single eye takes me like ten minutes now..

>>7407085
>>7409360
It's hit or miss with me. Compared to when I was working on my very first chapter, I'm somehow a lot faster and yet slower than before. My first chapter I almost essentially redid about 40% of the damn thing because I just did not like how amateurish everything looked (looking back now I think most of the entire first chapter still looks like amateur work but that's just the curse of looking at your own prior artwork regardless I feel).
Working on current chapters I'm able to communicate what I want a lot faster and can get right to work. However, since I'm also trying to push myself every chapter with unfamiliar territory (harder poses, improved shading) I'm still a bit slow going. It doesn't help that I also double/triple check my art as well - unlike a few of the other anons I don't wish to be a professional mangaka so I can take as much time as I reasonably need.
I only started making comics to begin with because nobody else was going to draw the cute girls I had envisioned in my mind.

>>7409327
Several readers of my comic that I know personally have told me that they tend to avoid episodic works altogether and just get a big collection if at all possible, otherwise they will very begrudgingly get each individual volume (i.e., Dragonball book 1, Dragonball book 2, and so on).

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Pages 22 and 23

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>>7408261
first page refined sketch going good so far but oh my god its daunting thinking of all the work to be done

>>7406787
What are you talking about? Is your PC struggling? Because all that should have changed are brush sizes and other numbers you don't have to look at too much.

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>>7408261
>>7409490
Oh my, seeing another irumafag on this thread is really nice

>>7409360
eventually you'll get over that hump and get faster

>>7409581
are you the other irumafag?

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>>7409652
I might be who did ask?

>>7409737
the irumafag you pointed out

>>7404732
the FLCL manga had such a cool look, I never appreciated it as a kid but it's what got me into anime

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>>7409751
Interesting... may i pry in your intentions?

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>>7404963
more pages

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Just wanted to pop by and wish all anons in here a merry Christmas. I'll be away visiting family until New Years, so not much drawing these coming days. Let's give it our all next year as well!

>>7404732
I wish I can draw pages like this. Sketchy style but it looks good. I spend ages trying to construct things correctly and make things look clear and detailed and it and it still looks bad, while haruka's eye here is like a scribble.

>>7409912
Thank you anon, merry christmas!

>>7404963
>>7409787
Looking good anon, btw is my idea or i haven't seeing you around lately?

>>7409933
I wish the /ic/ community at large would get it through their head that "drawing well" (whatever that even means to each individual anon) and being able to pump out a sellable/marketable product are not intrinsically tied together. You see it all the time with those art ranking threads with /beg/ or /pre-beg/ listed on one end and /pro/ on the other end, as though being able to market your works means therefore your skill level is way better than the /beg/ or /int/ tiers or anything else. FLCL is cool but if any of us had made it on our end instead we'd get drowned by everyone screaming "/beg/". Thank you for coming to my TED talk.

>>7409985
Thanks bro
I've developed a habit where I think about posting a sketch, but I see something I want to correct first, and before I know it I'm halfway done inking the entire chapter.

>>7410012
OP pic is well drawn though. It’s not a single drawing in a vacuum. If somebody just drew Haruka’s face in the bottom right and asked for a rating it’d be different than the page with great composition, perspective, form, line, and her with the rest of her body

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>>7409490
pg2 sketcho
>>7409760
to see what you made of course

>>7409787
love the bus interior title shot