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Manga Mania: How to Draw Japanese Comics Paperback – April 1, 2001
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Take a look at the wild popularity of such shows as Pokémon, Digimon, and Dragonball Z, and you'll see the Manga style of comic-book art in action. There's no doubt about it: Manga is hot. And Manga Mania is the only guide that details, step by step, how young and veteran artists alike can draw fantasy robots, diabolical monsters, mythical animals, and the other exciting characters that are part of this exciting genre.
Manga art has many styles: the young Manga style, à la Pokémon; and the more mature style popular with teens and adults. Manga Mania covers them both. Big, splashy chapters demonstrate how to draw martial arts, special effects, and much, much more. Since the Manga style stresses character rather than anatomy, Manga comics are easier to draw. So a beginning comic-book artist can easily learn the tricks of the trade.
Chris Hart, known for his very clear step-by-step illustrations and accompanying text, details how anyone can become a real Manga artist without having to reinvent the art of drawing.
- Print length144 pages
- LanguageEnglish
- PublisherWatson-Guptill
- Publication dateApril 1, 2001
- Dimensions8.52 x 0.42 x 11 inches
- ISBN-100823030350
- ISBN-13978-0823030354
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About the Author
Product details
- Publisher : Watson-Guptill (April 1, 2001)
- Language : English
- Paperback : 144 pages
- ISBN-10 : 0823030350
- ISBN-13 : 978-0823030354
- Item Weight : 1.02 pounds
- Dimensions : 8.52 x 0.42 x 11 inches
- Best Sellers Rank: #1,998,679 in Books (See Top 100 in Books)
- #377 in How to Create Manga
- #1,294 in Arts & Photography Study & Teaching
- #8,730 in Arts & Photography Criticism
- Customer Reviews:
About the author

Christopher Hart is the world’s best-selling author of How-To-Draw books. Readers have gobbled up over 8 million copies of his titles, and his work has been translated into more than 20 languages. Chris has had the rare distinction of having the top 1, 2 & 3 art books in the country, simultaneously, as reported by Nielsen BookScan. He has had over 100 books published.
Christopher is known for his ability to create cute and dramatic characters, brimming with personality. He focuses on the most contemporary styles, genres, and techniques, in order to give his readers and fans the very latest in art instruction.
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Website - http://christopherhartbooks.com/
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Just as a side note: if you are trying to read some of these art books and you are having trouble, get a dictionary and really sit there and literally read the entire art instructional from cover to cover; because you will get a lot more out of the material that way. This particular book is not the hardest to understand; that is just a general bit of advice for some of the other ones.
First off, this book is basically a primer for beginners, dealing with "Americanized" Manga. If you are looking for a book for experts, or one that really delves deep into what the anime/manga die-hard snobs call "true" manga (whatever that is supposed to mean -- while there are certain stylistic differences between your epic anime or manga fantasy Japanese original and your Pokemon, the same basic techniques are employed to varying degrees, depending upon the genre), then this is not that book.
This book IS:
1.) A good primer on figure drawing. Not great, but very good. I already knew a little bit about figure drawing before I started this book, but since having worked with it, my figure drawing skills have improved dramatically.
2.) A good primer on techniques used in Manga. I personally found the sections on eyes and expression very helpful. Because Hart doesn't spell it out for you all the time, sometimes when reading this book you have to interpret the drawing samples in tandem with Hart's instruction to figure it out on your own.
3.) An EXCELLENT book about storytelling. Having studied film and theatre (and thus storytelling theory) extensively, this book is highly valuable in that regard. It offers information on techniques for how to visually tell your story effectively, particularly in the sections about comic book panels. For this reason, I would highly recommend this book to anyone interested in film or theatre, even if they have no interest in drawing.
This book also offers at the end a section about "making it" as a manga artist. I found this section rather blah and unhelpful, though it would be informative and somewhat helpful for young people (i.e., children and teens).
This book has several minor weakness in its structure and style, but nothing worth going into detail about in this limited space, so long as you don't take the style in which the book is constructed too seriously (come on -- "Drop-Dead Manga Babes???" Of COURSE you're not supposed to take the style of the book seriously!). Overall, this is an excellent resource for anyone looking to improve their figure drawing skills (even if not manga), the beginning/novice manga artist, and anyone who would like to learn more about storytelling technique.
I would not necessarily recommend this for anyone who is a more advanced manga artist.
The back cover and splash page showcase some truly hideous digital colouring which thankfully isn't indicative of the general standard (I'm not sure who thought scrawling lipstick on the business suit bad guy was a good plan) but certainly doesn't give an encouraging start. A look at the "contributing artists" page gives the curious insight that Hart only actually seems to have done three sections of the book: a picture of a robot, most of the "designing scenes" chapter (which isn't drawn in manga style) and the cartoons for the entirely useless Japanese phrasebook section, seemingly present for people so entirely delusional they think they're going to get a job as a comic book illustrator in Japan while holding a copy of a how-to-draw book.
The other artists vary from people who know what they're doing (Colleen Doran's Tezuka-inspired stuff and Svetlana Chmakova's really rather good martial arts and fantasy illustrations) to the utterly clueless. Some of the illustrations border on "what not to do," such as the "dynamic fighting" pose on page 45, which is a "what the hell are they *doing*?" worthy of Image comics, or the incredibly botched perspective on the leg of the Deunan Knute knockoff on page 93.
Any quality in the illustrations is summarily ruined by Hart's ridiculous generalisations and rubbish quips in the descriptive text. If you want a list of views on anime and manga cultivated by someone who saw Akira a couple of times and thinks he remembers it, then this is a must buy, but that's a fairly niche audience. He's at his worst when he's trying to talk about history or culture (the section on Samurai habitually fighting with two swords, for example, is flat-out wrong), and clearly not at home talking about the style; the only chapter where he switches into a mode approaching informative rather than "do this, I guess?" is the one he actually illustrated about panel design. Though even there page 116 is kind of...special.
Almost all of the illustrations follow the standard of unhelpful how-to guides, going from basic shapes to a sketch to a fully worked-up figure without actually telling the reader how to do that (I suppose saying "study anatomy" would mean Hart sold fewer useless how-to guides), so it's a curious case of a book being too advanced for anyone who might actually want it while too, well, *wrong* for anyone who might get any use from it.
The "dramatic" splash page on 108 and the commentary leading up to it deserve special mention; we are told having a scene of a robot throwing punches at another is somehow more "banal" than the two standing apart from one another firing laser guns, despite that anime robots almost always either throw punches or fire gigantic volleys of missiles because laser guns are too banal. We are then "treated" to a totally lifeless battle scene which lacks any sense of continuity (both combatants seem to have simply appeared in their current locations without doing any damage to the area around them prior to the scene itself) and has no sense of motion (due to the lack of debris, sparks, movement lines and especially dust and smoke). Two fleeing characters seem to be struggling to remain conscious as they witness this tedious display, while high above Chris comments on the "overturned cars" he forgot to tell Mike Leeke he was supposed to be drawing.






