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雑談
🕑 Added 2022-01-12 14:08:06 +0000 UTC年始まで残っていたコミケの残骸も処理し、今週は「綺麗な少年漫画家」に戻って仕事をしています。
僕は一般紙の連載を持っていますが、その連載をする時に「私はエロ漫画を捨てるつもりは無いので、コミケの時期はエロ漫画家に戻ります！」という約束を取り付けています。
だからコミケの時期はコミケ原稿をやれるのですが、当然一般紙の読者はそんな事は知らないし、向こうの名義は建前上「エロ漫画家ぐすたふ」とは別人という”設定”で活動しているので、「コミケやるからしばらくエロ漫画描きまーす」とは言えません。
結局、「休載の多いダメ漫画家」と思われていることでしょう。
あぁ、つらい…でもエロ漫画も描きたいわ…
先日お伝えした、FANBOX上で連載するオリジナル漫画ですが、来週からスタートします。とりあえず最初のうちは原稿を貯めたいので、週4ページ3週更新1回休みの月12ページを目安に進めて行く予定。
原稿が順調に溜まってきたら月16ページまで増やしたいですね、目標は。
そのくらい描かないと、年内に終わらんし。
というわけで、もう少々お待ち下さいませ！
一般誌原稿の一コマ。
今描いている作品はわかりやすい中世ヨーロッパ風ファンタジーなので、地下ダンジョンとか、ドラゴンとか、剣と魔法の壮大なバトルとか、そんなんばかり描かなければいけません。
ま〜とりあえず作業が大変。
これは「湖の底にある大空洞を抜けた先にある地下遺跡をドラゴンの背中から眺めるカット」です。
ここまで来るともはや参考になる資料も存在しないので、下書きなし。真っ黒に塗ったコマに白いペンで、完全にフィーリングで描いていきます。
中央にはピラミッドみたいな構造物が建つ予定。
つい先日まで乳だの尻だの描いていたのに今はゴリゴリの地下遺跡を描いてんだから、我ながら振り幅が広いなと感心してしまう。
僕は「漫画家になりたい！」と思ったのが中学生くらいなので、かなり昔です。当時はまだインターネットも普及していませんでしたので、漫画家を目指す人間が最初に手にする教材は漫画画家入門講座本しかありません。
そして、その手の本は必ずと言っていいほど最初が「パースの練習」から始まっていました。
「パースの練習→背景の練習→自然物・人工物の描き分け→キャラの練習→ストーリーの描き方…」
といった具合です。
後半に行くほど、内容が薄くなっていきます。
実はこれは教本としては完全に間違っており、漫画家に必要なスキルは完全に逆なのですが、当時はまずパースと背景から始まるのが鉄板でした。
なぜか？
理由は簡単。
当時、その手の教本を執筆している著者は、漫画連載まで行かなかったアシスタント漫画家がほとんどだったからです。
当時は漫画家になるというのは商業誌で連載をするという事とイコールだったので、現代ほど漫画家の幅が広くありませんでした。
だから、漫画家崩れの漫画家が描く漫画家教本は、こういったアシスタント根性論になりがちだったのです。
パースの練習→背景の練習→自然物・人工物の描き分け→キャラの練習→ストーリーの描き方…そう、これはアシスタントが身につけるスキルの順序なんですね。
そして、この手の本を読んだ漫画家志望者の大半は、パースと背景が嫌になって挫折する…ここまでがテンプレです。
そりゃ当然ですよ。
パースと背景はプロ漫画家でも描けない人がいるほど難しいんだから。
本の中にアキラの大友さんの絵が紹介されてて、
「これがプロの背景だ！これを見て練習せよ！」みたいな煽り文が書いてあるわけよ。
いやいや、無茶苦茶すぎる。
今なら言えるけどあんなもんいくら練習したって描けないし、描けなくても問題ないわ！
とまぁそういう経緯があり、僕はエロ漫画家上がりの割には背景を描くのが得意です。
感でパースが取れる程度にはね。
（感でパースを取れるスキルを”パース眼”と言うらしい）
さて、では実際はというと、漫画の背景という物はアシスタントに頼む場合が多いのです。
背景描けない漫画家なんて腐る程いますから。
僕も本当は誰かに頼みたい所なんですが…ちょっと困った事に、最近はネットワークの力で
「プロになるためには背景なんて描けなくてもいいし、パースの練習なんか大して価値ないよね」という合理的な事実が一般的に認知されてしまい、結果背景描けないアシスタントさんがすごく多くなりました。
「コンビニを正面から」
「教室を横から」
この程度ならなんとかなりますが
「湖の底にある大空洞を抜けた先にある地下神殿を上空から眺めた背景」
なんて、頼めないわけです。
結局、自分でやるしかない。
しかしそうなると、ファンタジーなんてメンドくさくて仕方がない！
みんなマジでどうやってんだろ？
I've finished the Comiket-related work that remained until the beginning of the year, and this week I'm working on shonen manga.
I'm working on a series for a general newspaper, and when I started the series, I made a promise that I would give priority to my erotic manga work during the Comiket season, since I'm also an erotic manga artist.
But the readers don't know that.
I don't tell them that I'm also an erotic manga artist and that I give priority to erotic manga during Comiket.
In the end, I'm sure they think I'm a bad manga artist who takes a lot of time off.
Ah, it's hard... but I want to draw erotic manga too...
The original manga I told you about the other day, which will be serialized on Fanbox, will start next week.
I want to save up the manuscript for a while, so I'm going to aim for 12 pages per month, with four pages per week, three weeks of updates, and one break.
If the manuscript piles up well, I'd like to increase the number of pages to 16 per month.
Please wait a little longer!
A scene from a general magazine manuscript.
This manga is a medieval European-style fantasy work, so I have to draw a lot of underground dungeons, dragons, and epic battles with swords and magic.
It's a lot of work.
This picture is a cut of a view of the underground ruins from the back of a dragon through a large hollow at the bottom of a lake.
Since there is no reference material at this point, I drew it completely by feeling.
I didn't even have a rough draft.
I drew with a white pen on a completely black picture.
A pyramid-like structure will be built in the center.
Just a few days ago I was drawing only women's breasts and buttocks, and now I'm drawing underground ruins.
I'm impressed with how wide a range I can draw.
It was when I was in junior high school that I decided I wanted to be a manga artist.
That was a long time ago.
At that time, the Internet had not yet become widespread.
That's why the only material that people who wanted to become a manga artist could get their hands on at first was books.
And those books always started with practicing perspective.
Practicing perspective, practicing backgrounds, drawing natural and man-made objects, practicing characters, drawing stories...
It was always presented in this order.
The later you go, the less content there is.
This is a complete mistake for a teaching book.
The importance of the skills needed for a manga artist is completely opposite, but at the time, the theory was to start with practicing perspective.
Why is that?
The reason is simple.
Because at the time, most of the authors of these books were assistants who had not gone on to become serial cartoonists.
At that time, to be a manga artist was to be published in a commercial magazine.
The places where a manga artist could work were narrower than now.
As a result, the manga instructional books of the time tended to be introductions to these assistant techniques.
Practicing parsing, practicing backgrounds, drawing natural and artificial objects, practicing characters, drawing stories... Yes, this is the order of skills that assistants learn.
And the vast majority of aspiring manga artists who read these books end up hating perspective and backgrounds and fail.
That's not surprising.
Perspective and background are so difficult that even some professional manga artists can't draw them.
In the book, there is a picture of AKIRA on the page.
"Look at this and practice! This is a professional background!
It's too absurd.
I can tell you now that I can't draw AKIRA's backgrounds no matter how much I practice, and it doesn't matter if I can't!
Well, that's how it happened. I'm an erotic manga artist, but I'm good at drawing backgrounds.
I'm a bit of an oddball.
Now, in reality, backgrounds in manga are often done by assistants.
There are many manga artists who can't draw backgrounds.
I'd like to ask someone to do it for me too, but the trouble is that nowadays there are more and more assistants who can't draw backgrounds.
・Manga artists don't have a problem even if they can't draw backgrounds.
・There's no value in practicing parsing.
It's because these facts are now generally recognized.
・Convenience store, front view.
・A side view of a classroom.
There are people who will accept an order as simple as this.
But you can't ask them to draw a background of an underground temple from the sky, through a large cavity at the bottom of a lake.
There is no one who can draw such a picture.
In the end, I had to do it myself.
That's why fantasy is such a pain in the ass!
How do people really do it?
Comments
ぐすたふ
AKIRA is not the anime one, but the manga one. It's true, but Katsuhiro Otomo's drawings often appeared as samples for practicing drawing backgrounds. It's like showing a hurdle that can never be crossed and threatening that if you don't get over it you will never succeed. Too high a level of example is not helpful. It was a bad teaching tool. It's unthinkable today.
清澈的爱
Woa!Really impressed to see such a cut!Hope your shonen manga will become a hit in the future! AKIRA?Really?I don't really think nowadays can someone reproduce the backgrounds alone of such a beyond-the-times anime movie made by the elites of Japanese Golden-time Animators. I really appreciate the artists or illustrators who could create amazing perspectives.But for mangas, people matter characters much more.Especially nowadays more and more games or other anime-related media stressing on the expression of female characters cause public aesthetics prefer character even much more than backgrounds.And for many initiates of drawing, they prefer character illustrating than creating manga. That's I thought the reasons how things changed like that.To be short,in an erotic expressing,people care more about how people sex other than why and where.
