It will look monotonous if you keep using the same angles and the same characters. ![]() Even if the panel doesn’t have concentrated lines, you can create a pseudo-concentration line by arranging objects to direct the readers’ attention to the center object.Īs for composition, it is similar to the panel layout. The trick is to draw the line in the same direction as the eye movement.Ĭoncentrated lines and flashes direct the eye to the object at the lines’ center. When expressing movement, if you draw the lineworks as if it is moving in the same direction as the action, it will synchronize with the reader’s eye movement and add a sense of dynamism to the picture. The trick for visual guidance is to first lay out the basic route for the readers’ eyes by placing the text balloons and the character’s faces, and then place another layer of informations on top of that, so you can decide what you want to show naturally (you will be able to draw while keeping in mind of the readers’ eyes after many practice). You can learn from this that you can control the readers’ eyes to a certain extent if you place these elements skillfully (this is called visual guidance).Ĭonspicuous for readers… text balloons, character faces, center linework, drawing texts Inconspicuous for readers… backgrounds, faceless charactersįor example, even in the same panel layout, the way the readers’ eyes move will change depending on how the elements are arranged. The text balloons and characters’ faces catches the readers’ eyes. You cannot forget text balloon, character location, linework, and drawning composition along with panel division to create readable manga.Įven when you are reading manga casually, the readers’ line of sight tends to focus onto certain elements. Avoid monotony by giving fresh changes by explaining visually, changing composition, and making characters step out of panels. ③Panel division for explanation scenesĮxplanations for detective deductions can become long. Here the panel is cut off and covers half of a page to make the protagonist’s attack scene stand out.The panel is also cut diagonally to illustrate action. The panel number is just right with five total, and the panel shapes are square because there are no shocking scenes. This is an everyday scene before the start of a journey. Here are some examples of panel division ①Panel division for everyday scenes You may want to use this technique for scenes where you want to show off your characters. You can also eliminate the frame of a panel, or punch out a panel and place a character, sound effects, or a text balloon. For pages with a lot of explanations, you may end up with eight to ten panels, but try to avoid making it hard to read by varying the size and composition of the panels. If you have a page with a large, captivating frame (a frame that you want to make a big impact on), it’s okay to have two or three frames or even one frame. The number of panels on a page should be about five or six, and the number of columns should be three or four. Make big panels to emphasize new character’s arrivals and climax scenes. (The standard size of the largest panel will cover half of one page and will be easily recognizable. Small panels should be small, and large panels should be obviously large. It is important to give clarity in changing the panel sizes. ![]() The manga panel sizes are relatively standardized in 4-Koma and essay mangas, but story mangas require many panel size variations so the story telling would not become stale. ![]() For panels you want to emphasize the most, you can make it extend to the edge (This is called cut off panel or “Tachi-kiri”. Manga panels are usually divided into rectangular shapes, but you can also divide them diagonally to illustrate action or tension effectively. For mangas that read from left to right, you will follow the panels from the top left to bottom right. You will divide the panels following this rule. For common Japanese mangas that read from right to left, you would read from the top right to the bottom left.
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