How To Use Manga Comic Book Paper Professionally

some guys this is why I’m wrong here with a new video in this video gonna be me kind of teaching you guys how to use management paper that’s like comic-book paper the manga paper I’ll tell you what type of paper to use and now you know kind of briefly touch on the types that are out there it took a while to fully grasp I feel like fully grasp it enough to where I feel very comfortable sharing it with you guys so you guys can really get some really good information on how to use this paper there many ways not to use it but I kind of share like my way and almost like an industry standard almost as shown especially if you want that showing style you know showing him jump an arc to one piece kind of style of cut it using using this paper this is the video for you the paper we’re going to focus on on this video is the deleter type a b4 paper now it comes in like two weights the heavier paper is just harder to band it’s basically the better one because when you read race or your drawing you like it’s not gonna Bend as much because it’s heavier but that’s the paper we’re going to focus on there are many types type a Type B type C but type A is the one with the guidelines if you have type B without guidelines you can recreate the guidelines but is gonna be very difficult because the guidelines have like rulers and it’s like constructing your own ruler and blah blah blah so best-case scenario you need the type a paper sometimes you use type B which is the same paper is just no guidelines but you might want to do that for round or maybe you want to do some kind of illustration that you don’t want any guidelines for and maybe gonna scan in with color but even though you scan it with color and the guidelines there’s still ways to remove the guidelines because the guidelines are blue in color and when you scan in the blue is not going to show if you edit the paper the right way or you scan it in the right way scanning in scanning in the paper the right way is scanning in maybe it’s a colored illustration you scan in and you can increase the contrast and brightness to where the blacks are like flat black and all the light blue lines because they’re really light right the light blue lines disappear or if you’re it’s a manga page and it’s a black and white grayscale kind of page and all that’s on the page is ink or a tone if you traditionally tone if you digitally then you’ll just be ink and then you put the tones digitally but if you just have like an ink paper and it’s all this ink there you want to scan in black and white or lineart depending on the scanner you’re using it that way the Blues don’t show it all and all the shows is the dark crisp black flatline now I’ll go into detail in a second on what the guidelines in full are for and how they help you how they guide you basically but I want you to know that your many ways to panel the page and there are many ways to go about using this paper um and you know I’ve seen people that panel you know like maybe a panel look like a triangle or some people panel freehand and sometimes depending on the aesthetic of the comic that works it works perfectly for a bit for for them but for this video I’m just going to teach you guys like how I panel and it’s more it’s more similar closer to the mainstream Japanese style of paneling pages especially action comics that’s so that’s the Shonan comic and most of my panels and the panels for those of you those of you don’t know basically the boxes that the art goes in on the page or you can have a page with like three panels right so my panels always have four sides always they always have four sides it’s never I never do three sided panels nope you you’re not gonna see any weird shapes or triangles for me and I always use rulers again you’re many ways to do this but I’m just guys I’m just kind of letting you guys know what you’re getting into for this particular video and how I the panel and do things like that and how I use the manuscript paper to get the result that I want so even though I’m going to be using the computer to show you guys how to use the manuscript paper because if I use a regular camera the camera might not be able to get the blue lines you’ll not be able to see the blue lines clear clearly on on the paper itself and I have a you know another video that goes into the some detail on how to use the paper or the paper itself and the paper to get which I’ll link a link to and that’s more you know you can see me holding the paper and doing things with the paper but this video I’m going to use the computer screen so you guys can actually see the lines and things like that and it’s much easier but generally when I’m using the deleted paper type day with the guidelines I always have my ruler on standby I have pencils erasers and a Sakura micron to draw the you know the straight lines and the lines the panel lines the lines that I used to draw the the panel’s I use the 0.8 or know the zero eight or board the eight right in the sakura microns because that’s like the thickest one and so you can really see that thick black line when you’re drawing the panels first thing to notice is you know type a again guidelines type B doesn’t have guidelines there type C and D but forget about those for now for this video going to focus on a and sometimes they use these papers in like western comics and you will see like the blue lines your blue or sometimes you might see something red actually it’s not the leader paper but like some other kind of paper smarter make and it’ll be red but it’ll be a very light red right because these light colors don’t show when you scan them in black and white or you scan them in color but you increase the contrast or the contrast and brightness and maybe exposure a little bit and sometimes it for comics in the way and here in the West or you know anywhere in the word really they might use a paper with may be very little guidelines at all but they draw this you because for me when I create pages I go with pencils and then I go over the pencils with ink and I erase the pencil sometimes people go over pencils they put it in the light box where they put the paper under a light box and then they put the paper they want to ink over that and then they ink so you have two papers with pencils and inks but there’s another way where the pencil er we use blue LED pencil and they draw with the blue LED they basically draw with like a blue pencil which is actually kind of hard a little bit harder to erase but they use the blue blue LED pencil and then someone else goes over the blues with ink and they don’t have to erase anything because when they scan it in the blues aren’t going to show anyway you know sometimes they do the blues and they scan it in color and send it to an inker at the incres not with them in the room and Anker can ink wherever it is or she is in the world and the ink over the blues and then they scan in black and white or scan in lineart sometimes it depends on the on the scanner using a future video I will do a video where I’m actually scanning a page of mine from my comic Apple black and y’all can check that out so it’ll be like a good example for you and I’ll you know talk about the scanner I have and things like that so stay tuned for that now we’re going to take a look at the actual paper from using my computer here and I’m gonna talk about the lines the guidelines and what they do what they’re for and how they guide you and how they help you if you want to have your comic especially if you want to have your comic be printed because again if your comic is gonna be completely digital you can do whatever you want right you don’t have to this is for like cases where maybe you want to either you want to replicate that Shonen style of pages and things like that or you know you want your comic to be in print in some way this is usually you know my recommendation for how to go about you know using the paper so it includes what the lines are for where they go how they guide you if you’re gonna have text anywhere that’s supposed to be read and like where to have the text because you can’t have text all over that you can have text at the edge of the paper because it’s going to affect the printing and some printers probably wouldn’t even accept you at all you’re going to have issues with that so most of your text once is supposed to be centered again I’ll go into detail but that’s we’re going to go into now let’s take a look at Taipei deleter Taipei b4 paper so here um you know I’ve opened like I’m opening and opening up the pages and we have I have one image that kind of just has with the you know names on it and then I have just one simple image and so we’re going to start with one with names on it and you can see how the paper looks so you would make a mistake when you’re purchasing it and or you know trying to find it I’ll leave a link in the description to where you can find the leader paper and so you can you know you can get that there many ways honestly for just google it if you really want to find it you can find it on your own but does it make it easy a little bit so that you’ll be in description so here you know let’s look at the what these these lines are for and your names so first off we have the cut of kind of marks paying attention to that for now not important I’m basically gonna give you like a basic trim because if we go over everything this videos gonna be ridiculously long so I’ll just give you the you know things that I use things that guide me focus on that so that’s the cut of marks but pay no attention to that for now that’s like the middle of the ruler I use the rulers to you know ask that’s the center mark is like middle of the bruise usually zero there and you have the zeros counting from one to three on the left and one to three on the right the same thing is done on the on all sides of the all sides of the paper and it’s called a ruler the whole play-doh you know you’re all called root um I can use the ruler to draw like you know very straight lines and you know that’s how I know the line is straight and it’s like parallel to the edge of the paper so you know drawing the line here with marks to do again I wanted I would have loved to do this traditionally but you know you guys might not be able to see the blue lines on the paper so I decided to do this in the computer but you know drawing a straight line and long studio kind of hold down shift and you you know you draw the line from one end to the other so it’s hitting the two at the top and it’s hitting the two at the bottom and this is you can have you can create like 90 degrees you know if you have another line perpendicular you can create 90 degrees but this is like a straight you know 180 right and it’s parallel to the left and the right side of the paper this is a very straight line and this these are you know part of the things that I use the ruler to do because I know I’m hitting a two at the top and I’m going to hit a two at the bottom and then I can have another line right next to it and that’s like gonna be like cutting the panels and you see what I do here in a second I’ve essentially made created a page with four four panels now I know you guys are asking probably thinking about what about the other edges of the panel’s what about the rest of the panel I’ll talk about that in a second we’ll get into that but this is basically how I do it and you have like the horizontal line the space between the panel’s from a horizontal standpoint is kind of thicker than the vertical and now you know go into detail what that is second as well you have the printing cut off line and that’s like where no art like once when the paper get let’s say you turn into paper to your publishers and things like that that’s not always gonna be the case sometimes you guys would probably be independent doing things yourself but usually nothing gets printed beyond the the the cutoff line that’s the printing khalaf line like nothing gets printed after that the whole paper gets used you make use of all the paper but you just make sure that all your important art is within the printing cutoff line because nothing gets past that that’s the basic gist again as we move forward in in this video I’ll explain a whole lot more you got your frame marks again you got a gonna pass over that just make this video as quick as possible because you still get all that stuff as we move on the video then you got your drawing frame the drawing frame is basically it’s a dotted line if if you zoom in it’s actually a dotted line and that’s where your panels go if you want like a simple page and you have your panels and blah blah blah that’s where your panel like your panel lines are if you just want to penalize that’s where they go and if you let’s say the third you can see like the third panel maybe the third panel has some really revealing artwork or something like that and again you see I’m giving an example of where the cutoff lines show because any art beyond that the cutoff line does not get shown but you know you can see that the panel kind of expands maybe it’s an action scene or maybe something that a character is saying something really important they want all the viewer to focus on that panel Center so you expand that panel and anytime you expand the panel you expand the panel to the fullest right you don’t expand it half way I’ll explain what I mean in a second again when you expand expand it you expand it to the opposite direction of the gutter now the gutter is the if you’re holding a book and you open the book the gutter is basically the middle the middle of the book where there isn’t any art whether you know all the pages meet right that is the gutter so if you’re expanding a panel you’re expanding it the opposite direction of the gutter because you don’t want the art to you don’t want the art to kind of get lost in the gutter now the I’m speaking from experience I’ve made mistakes like this and I have art going into the gutter or I have panels I have panels kind of expanding into the gutter or things like that and it kind of messes up the book in a way and because the gutter here as you can see is on the left that means this is a right page this damage this page is it’s on the right again I’m only erasing just give an example of again this is within the drawing frame you can draw beyond the drawing frame but you can’t have text beyond the drawing frame this frame this book does these guidelines are here to help you to not make mistakes when you’re printing and all the lines here are kind of parallel to your counterparts so all the horizontal lines in this just just for this page this example all the horizontal lines are parallel to each other and all the vertical lines are parallel to each other obviously we’re going to I’m going to give examples with panels that are more complicated than this but again you want this you want the panel the drawing frame like this shouldn’t be any art like passing the drawing frame to the gutter right if you have art that extends it should go to the opposite direction of the of the gutter and I’ll explain what I mean in a second so here’s an example of if the page was to the left if the page was to the left and you know just forget about the drawing here the crude lines they’re supposed to be straight but if the join was if the pages to the left this is how I will extend maybe that fourth panel so this is a left page and the gutter here in this in this scenario is actually excuse me whew don’t feel so good but the gutter is actually on the on the left side right so this is a on the right side sort this is a left page so the gutter is on the other side so this is just an example now notice that again the spaces between panels that form some kind of vertical line are thinner than the ones that are forming horizontals and I’ll go in a detail again what I mean by that but things to know is that that gutter has its own spec that like the drawing line the drawing frame you is is designed that way to give enough space between the panels and the gutter right so you don’t want the the panels should never extend towards the gutter you should never have text that’s that goes beyond the drawing line to the gutter and if you’re not understanding what I’m saying completely just keep watching there’ll be more examples and you would understand what I’m saying as you know as we go on so here you know getting around getting rid of all those extra you know extra arts to make things a little more visible so here I’m drawing the line a straight line and usually if I was drawing traditionally I’ll kind of to know if it’s a straight line I’ll look at the I’ll take from one end maybe a two on the left and a two on the right and I’ll draw a straight line that goes right across and I know that that line is 180 degrees and if we drew a line perpendicular to it you’ll form a 90 it’ll form well if you draw a line perpendicular is always going to form a 90 but it’s it’s it’s a straight line going from one end to the other here one thing to note again I’m drawing the the panels that are right beside each other the spacing between them is thinner than panels that are above each other it’s kind of you know has this it almost makes it easier to read sometimes trust me but did you know it’s kind of showing style of doing things and the space in between it’s kind of like seven millimeters I think and the one the side by side by side I usually do like a two but when the panel is above another panel I do like a seven and again you don’t get it give me a second you will you will by the end of this video hopefully and this page you know I’m just giving an example of how to read the paper this way this page is going from right to left this is how you this is how you read the page most of you know how to read comics I’m just doing this you know make sure everyone’s on the same page if you were if the reading orientation of your book was from right to left this is how you do it but you know if it’s from left to right I mean the first panel still be the first panel but you start you you wouldn’t start reading from the left or the right you start reading from the right from the left I’m sorry and then you read the the the twos and the threes switch again given another example of you can see the the panel is above another panel so it’s thicker than the one above again for this video is kind of a sketchy sketchy vibe so they’re not the same but I always try to make sure the distance between the panel’s are consistent throughout so if I’m doing two panels or as consistent as possible if I’m doing two panels that are right beside each other the distance is kind of consistent throughout so you can see here the panel 1 and panel 3 the distance between panel 1 and pilot panel 3 is supposed to be the same between panel three and four um and you know you try to be as consistent as possible to make the page look as professional as possible same thing goes if you’re you know creating the page from right to left so the distance between pay panel one and two should be the same between two and three and then that the distance between four and two is you know going to be the same for any other scenario like that here again for just giving example the distances usually for me I’m like two millimeters or two whatever it is like the two dots I’ll zoom in further than a second show you what I mean but if that’s a two then the other ones are seven that’s usually how that’s usually how I go about you know paddling for my pages again in this in this scenario in this actual instance is a little bit flexible you can really do whatever you want here but I’m just trying to give you guys that standard look and if you go look at most shown in comics this this is kind of how it’s done maybe a two and a six or maybe a three and a six or a three and a seven but this is a good distance so what I mean is here you have that’s what I mean seven just seven of those and then that’s for like the horizontal stuff and then here it’s kind of like a one in two again you know maybe you could do three threes not or two-and-a-half is not bad but that’s what I do for the verticals you you always want to have a consistent line like most of these lines need to be parallel they did it at least again for the look we’re going for again you can have a comic do whatever you if it’s your comic and maybe the lines not being parallel add to the story add to your style add to your theme then be my guest but for what we’re going for in this in this tutorial most of them need to be parallel and again they’re instances where they’re not going to be parallel just to be just you know not to confuse you guys I’ll I’ll give an example of that as we go on later later in this tutorial so here I’m about to expand this this uh expand panel four and four panel four if I would spend and I’ll expand it to the fullest and usually when you want to expand the panel that means something something is going on the page you don’t want you don’t want the lines to bend that’s a no-no you don’t do stuff like that because that’s not parallel at all it’s kind of distracting it needs to be problem for the style we’re going for so if I was going to extend expand this this actual panel I’ll go to the fullest I wouldn’t go half way you know again you want to be within the the drug you want to go past the drawing frame and you want to go past the cutoff marks right but you know even though the art at the cutoff marks are supposed to get cut off right you know most of this within that is going to get shown anything beyond that’s not gonna but you know it’s your comic it depends on it’s really for printing that that’s how it’s supposed to be but obviously if you’re completely independent you can do whatever you want now things like this well the way I’m cutting this panel right now you can do stuff like this but I don’t recommend it I don’t recommend it i if you’re going to expand I say expand to the fullest right completely to the folds but just make sure that your text is within the drawing frame if you have any text at all so let’s say you have a text bubble is within the drawing frame now if you have arts maybe a building and it has like a text and maybe that text is not important maybe that text is like part of the art that’s different I’m talking about text that the audience the readers like the reader supposed to read it’s supposed to be within that drawing frame that’s within the dotted line okay stuff like this I don’t do this you know it would work as long as your text is within the drawing frame again but it’s a no-no for me I always try to make the lines parallel and if I’m not expanding it it’s gonna be on the it’s like it’s gonna be on the dotted line it’s going to be within on the drawing frame itself and you can see like the distance it will like the space between the state panels 2 + 2 + 3 + 2 + 4 that’s also parallel to the to the to the drawing line now again I’ll gonna I’m gonna give instances where you know you don’t want things parallel but even though they’re not parallel they still have this professional look and as usually you know in action scenes and things like that I will give examples just relax you’re just giving dropping down to basics for now so just follow me as best as you can this videos pretty long you can always come back to it when you want to panel your pages and kind of listen to you know what I’m saying every night now then get like the full lowdown or join anyways moving on now here’s an instance where this isn’t this isn’t parallel to its it’s parallel to like the space between the panels or parallel right it’s not parallel to any other lines but at least you’re parallel to each other right and you can do stuff like this this stuff like this is okay and you can usually when I want to have lines that aren’t straight I still make sure they’re like your pair of the space is parallel to each other the space is equal throughout and you wanna maybe you want to expand it you can do stuff like this and you again I’m expanding it I’m expanding it to the fullest and I use the ruler say at the top at the bottom to like I use to make sure that the space between the panels are equal throughout so you know so they’re parallel to each other so those are the only two lines of the parallel to each other in the scenario in this page and since it and since this is a panel that I’m expanding I expand it to the fullest going to give a little sketch here it’s just you know show what I mean again you see that bubble is within the drawing lines it’s not it’s it’s not outside well the drawing frame sorry most of the stuff you know I’m not like a super duper expert and I kind of giving you lowdown what I know so most of the like these are these are things that you know over the years I’ve learned and I’m still improving on and things like that so this is the best of me right now you know this is nice this way we could have done something you know something like this uh well let’s do some different that’s uh I’m going to do another line that’s not not so parallel um but it’ll get the job done you’ll see what I mean so here from a horizontal standpoint those two are parallel to each other right they’re not parallel to anything else on the page but they’re parallel to each other right you want that uniform look to some degree and most of the times where you do panels like this again is like action scenes or something crazy is going on and the audience is supposed to be a little disoriented right that’s where you do stuff like this right even so even though it’s not parallel to like any other lines it’s the it did those two lines are at least parallel to each other right and again if you notice how these panels are still within the drawing lines but anytime I want to expand the panel I expand it beyond everything even though it’s going to get cut off depending on the printers or your publisher or anything like that or how you produce your pages but this is how you use the paper right the story is teaching you how to use the paper anything you do after that it’s really up to you and if you’re going digital you can do stuff like this yeah I’m not good this is not this is not part of the tutorial I mean this is not a manga studio tutorial if you want to learn stuff like that I’ll go and to go and have like a separate video for that but just give me any you know showing an example of you know fun stuff you can do when you’re playing with mixed-media so even though you drew these or you ink to this traditionally when you scan in the computer you can play with manga studio and add some tone and add some speed lines or you know things like that I have a video on speed lines later you can do them most of my speed lines are done manually because Mach studio currently doesn’t have too many options at at least that I know of but we’re gonna skip that that’s not part of the tutorial moving on this is just how to use the paper itself so here so I’m getting rid of the art a little bit sorry you know spring is a horrible time for me ah and I’m gonna give an example of or you know explain further what I mean you know the text bubbles are so you see examples of text bubbles they’re all within the drawing lines do the drawing frame uh you can have tucks bubbles do whatever you want they could be you know like at the edge at the edge of the edge of the panel so you might not even see them fully like a full circle or egg-shaped thing you can have them above a panel right maybe the text maybe the person supposed to visualize that the text kind of overlays both panels maybe the person is talking about and so now that that kind of text bubble that doesn’t fly you know whether it’s at the gutter because in this case this page is actually a right page right this is a right page because you have the the panels it when they expand to the left when they expand to the right they expand in that way and they don’t expand to the left at all right and that whole part of the page is the gutter right text there is a no-no so a big no-no right and if you do have text it should be it should be within the drawing frame now this is for those of you who kind of not been understanding what the gutter is this is what the gutter is like in between pages right here that’s the gutter so you have your left page you have your right page and that right there is the gutter right so these are things you want to keep track of when you’re creating your paper creating your comic right if you want that excuse me you know that showing stuff and things like that but again it depends on what kind of comic you’re creating sometimes you know you’re creating a comic this maybe has this Korean webtoons kind of thing and you only it’s it’s it’s a webcomic where you all you do a scroll from top to bottom but these are for like books that if you’re creating a book that you want to you know you see it be coming in in print someday or things like that these are things you need to keep track of where your pages are right and not just from a you know a professional standpoint but even from like oh yeah like telling us I guess that’s the professional but like a story standpoint maybe you want to reveal something right but you want the read it you want the audience or your reader your your your bait your fan base or supporters to flip the page to release for that reveal to happen so if you’ve got to know when your audience is supposed to flip a page so that way when you’re creating your comic or storyboarding you keep track of what’s the left page what’s the right page right so when maybe they’re reading the comic and you’re building tension with each panel from the left page to the right page and maybe at the end did this is if the book is read from left to right and if is Laurette from left to right and they open the page you you kind of build something some kind of tension or something right – up until the first panel on the left – the last panel on the right – when they flip the page there’s like a big reveal right so you know you have to keep track of the pages keep track of what’s little what pages on the left keep track on what pages on the right and you know you keep track of all that stuff again here example if I was going to do the the bubbles the text bubble or you know text should be within the drawing frame not necessary text to be to be honest the art itself like the art of the bubble and the balloon can be you know you can do whatever it wants I mean remember you’ll still get cut off at the cutoff marks right but the text itself needs to be in the drawer with in the drawing frames like that’s nothing you like I know how to put it so should be within the drawing frames but always keep keeping keep track of where the cutoff line is and where the drawing frames are so right there all right the drawing frame text is in there text cannot come out of like any kind of text cannot come out of there now again if it’s text that’s kind of part of the art if it’s like art not necessarily actually text that you’re supposed to read maybe there’s a sign on the building right and the sign says Lex Corp right maybe you’re not it’s not important that can get cut off that can you know that can do whatever it wants but if it’s like text from like text bubbles or if you’re let’s say you were writing a novel right and all the did this page you didn’t draw any art try and you draw on the text right all the text needs to be within the drawing frame even if even text that you see is this safe to have the text within the joint frame right um there are cases where you kind of want the text page ination pagination is where you know is that just adding page numbers to your pages it’s a little tricky you know thank you a little shaky and a little trickier there but even then the text needs to be any text that someone supposed to read should be within the joint frames when it comes to page nation I’ll you know let’s let’s lay off with pagination for now and you know how pages are numbered and things like that you can see the space right under the drawing frame right that’s where that’s usually where the page the page numbers would go right in when you’re adding actual text that’s usually where the page numbers go so if the page is usually the pay if the page is a right page you know the text to be the the pagination beyond the bottom right but forget about page nation path as you can see in this panel sorry in this text below in text bubble you have it would work because the text itself is within the drawing frame and the art of the text balloon is beyond but you don’t want to do stuff like that you want to text being the only text to be centered again these are things that I’ve made mistakes I’ve made some mistakes before so I had to go in like I didn’t I wasn’t thinking about printing so I made these kind of mistakes and I had to go back in and shift text closer to the drawing frame um so that you know it’ll be that’s what I’ll be able to print my pages so I’ve made these kind of mistakes before then once you guys to make the same so we’re gonna move on so here here is uh we’re winding down this tutorial here is the the page as a whole this is how you when you get the page this is how it looks so there’s let’s let me give an example of how the when you scan in a page how the page is supposed to be when you just ink right so I’m just going to give it a little demo and how the page is going to look when you’re done inking so you’re done thinking this is how it’s supposed to look here are some pages that I’ve done in the past these are not Apple black pages by the way but you’ll see what I mean and I’m just going to adjust it to kind of give you guys the better visuals so I just imported this image and I’m going to show you how it would look how it looked when I inked it when I inked and I scanned it in this is how it looked and again when it comes to press pencil laying and inking I have videos on that and how I pencil and how I ink the the problem with those videos is uh i panel differently I used the deleted paper different from how I’m telling you to use it right now so when it comes to using the actual paper don’t listen to me but when it comes to the natural process of inking and penciling and and and all that stuff and toning you can watch those videos I’ll leave links to those and you understand what I’m saying I probably needle even annotation they’re pointing to this video when a way to use the leader paper than how I used it in the past you know to prevent the mistakes that I’ve made that I made for my first book anyways I’m still adjusting the page to show you how they look for someone like me who uh for the most part creates pages everything by myself I kind of have to keep track because you know I scan in and I wouldn’t see what the UM I wouldn’t see the blue lines when I scan in so I don’t know where I wouldn’t know where I scan in black and white or line art so I wouldn’t know where the cutoff mark is so usually with ink I always leave a dot at the edges and you’ll be able to see the dot a little bit if you look closely at the edges of where the cutoff marks are so that when I scan in and I can’t see the blue at least I’ll see where the black dots for the you know indicating the rectangle for the cutoff marks so I can cut my paper myself right or you can you know scan in color and you see the whole thing and then you can play with the contrast and brightness afterwards but that’s not how I do it I usually just scan in line art black and white and but I just put the dark dots on the cutoff cutoff marks so I know where they are so this is how the page looks you know you can see the dot right there at the cutoff mark that’s where that’s I’m just using the green to highlight because you know when you scan in you’re not going to see the blue line so I you you at first I was confused where the lot where what I was supposed to cut off and what our you know what I was supposed to leave so I usually have those just a little black dot right there that I can erase in the computer if it’s you know distracting and this is how the page looked and when I was done you you’ll see what I cut off in a sec that gets cut off that gets cut off I’m not actually cutting it off here in this in this video I’m just showing you what gets cut off so the green you don’t see right and here I pulled the panels right I pulled it completely to the top right you can do stuff like that you can pull you can pull panels to the complete top or it come to the complete lift you just need to be consistent and you can’t like pull it halfway so the green is the cut off part right that’s what I did for this video and so all you see is the middle and from the middle then I do some editing I clean things up and I clicked on put in text and you’ll see that in a second but to give an example of what I was talking about what I did in that page is here you see for these footings for these panels I kind of expand both the left side and the bottom and again remember how I told you that every page every panel all my panels have four sides you can look here they all have four sides even though it expends expands to the edge of the paper you can still just count the edge of the paper as the fourth side but moving on you can see I did this is kind of like stuff I did so where I only dragged it to the top I didn’t drag it to the you know to both sides you can do stuff like that just remember that the bubbles and the text the text especially needs to be within the drawing frame so you can do stuff like this or and stuff like that no no you’re never gonna see no triangles for me um and you given I got to give another example of things that I don’t do stuff like this even though it’s parallel to even though it’s parallel to the it’s opposite side I still don’t do stuff like this yeah most of the lines that there when a once it once it’s on the the dotted line of the drawing frame I always have it straight right so when I expand I expand to the edge I don’t play with the you know the line itself bending it to be parallel to the other side it doesn’t really I don’t do that basically so here you know you can pull it to the top and you know forget about the size or you can only pull it to the sides usually only do stuff like this when there’s something special about the panel you know maybe something’s going on in that panel maybe is an action scene if someone’s revealing something it’s like to draw more attention to it um so that’s you know basically what I do or you know you can forget about pulling it as a whole you know forget about pulling it at all and you just you know have it within the habit you know within the confines of the joint frame right and this works again you know going through this video I realize that maybe things might be confusing here and there I’m trying to be as correct as I can’t be if you have any questions you can just leave it in the comments and I’ll be happy to answer as best as I can so here back to this again the green in this video in this illustration will get cut off and then I clean things up like some dirts and things like that um sometimes you can scan in like when I scan in the page I like I cut it off immediately before I start toning or you can tone the page you know before I before you even cut anything off and cut it after but for the way I work anyway anything works as long as you end up with the same result is up to you so I have the page I you know you can tone before after after you cut off the cutoff marks but again it’s up to you for me I tone and then I cut I cut it I cut it before right I cut it before I even start toning or doing anything I cut it before um to be honest best practice is to cut it after is to cut it after just in case you want to print for maybe you want to print something like things change and you want to print and the the new printer has like different kind of guidelines at least you have the original art here if you cut the way I cut I’ve already cut out the inks right the inks are gone already uh like the edges are gone already before you put in tongue so the best practice is actually to cut after you tone and you’ve cleaned things up but uh and maybe you know I’ll adopt that style it’s just that for the current pages I’m working on I’ve already started this way so I’m just trying to finish this way then moving on the future things would change god I really hope you understood what I said and then here’s an example of finished page once I’ve you know I get my page I inked it I scanned it in lineart or black and white and then I cut off the edges and then I go in with tone I clean it up go on with tone and at text and this is like an end result of a page right here now this is a jpg this is just a flat of the page I still have the original page with the layers of layers for the tone layers for the text each for the text for each balloon text balloon the layers for everything that’s layered right there like you know all the tone in text basically it’s all in text and the line art itself and this is the Li P file that’s the manga studio file you don’t have to most of what we’ve done doesn’t have to be manga studio you could have been Photoshop you can still do all of this with Photoshop but for this video I’m using mock studio and it’s something I’m used to especially if I’m creating comics and it’s where I’m my fastest but you see you know make some panels visible that that was the layer layer of just a line art and you know if you make an invisible visible you can see you can see kind of the musing these layers to kind of show you what I’ve done and how I’ve played around with the pages and this is how I end up with a final page so thanks guys for watching notice a really long video I hope you guys stay man you know and learnt something I think – I hope this videos useful to you guys let me guys enjoy the video I hope you got what you needed to get from the video and that’s that and that’s how I create my pages at least that’s our panel stuff now when it comes to actually you know knowing how to panel and what angles to use and I think those are separate videos and I think I’ve touched on them briefly a little bit at least when it comes like angles and shots and things like that in like previous videos uh you can check out my channel for more on that when it comes to how to do speed lines and how to actually do the art and actually you know how to know the best panel size or you know how to actually panel a page that has to do with like storyboarding and I have videos on that as well but I’ll have a future video that kind of you know you probably just watch me panel a page from start to finish and I’ll kind of explain my reasons for why things are paneled certain ways or I’ll use my book ever black that’s currently published on Saturday and published in serializing Saturday and for what’s that am is you can go check that out it has all a bunch of other diverse and interesting comics on there that you can check out I’ll leave links to every every major important thing ever about me in the end the description below in the About section below all my social media twitter twitter instagram facebook and all that so you can check me out if you if you’re just finding out about white manga or finding out about SatAM links in the description about section check that out but for this video you know maybe some on the future video I might use my actual book and go through a scene and explain why I read a pattern of a certain way or why the panel is this size why this panel expanded and this didn’t and things like that and also that will help so you also stay tuned for that a lot of ideas for good videos coming soon on this channel so let me guys stay tuned for that and yeah that’s it for this video if you guys like this video please share this video leave a comment if you have any questions I’m sure some of you would um subscribe to the channel for more I do lots of tutorials a lot and occasionally I do some fun stuff giveaways concerts and things like that so hope you guys stay tuned for that and yeah this is why manga check me out yo get him out