Illustrator Reacts to Good and Bad Manga Art

Illustrator Reacts to Good and Bad Manga Art

Even though it’s a really rushed drawing
that isn’t great there are elements of good art in it. And, boom, very easily
you’ve got a decently composed image right there. Really goofy looking
artwork and without it we never would have gotten one of the most popular
manga and anime series out there today. A lot of the artists that people have
asked I covering the illustrator react series have been manga artists. So I
figured, ‘hey, let’s do a whole episode based around manga.’ Besides the fact that
at some point in this episode I’m gonna slip up and call it MAN-GA I think it’s a
pretty good idea. And also I have covered a bunch of manga artists in the past and
a lot of people have been requesting I talk about artists that I’ve actually
already covered in previous episodes, so in the pinned comment on this video
I’m gonna put a list of all the artists I’ve talked about before and the episode
that I talked about them in so if you’re looking for someone specific that I
don’t cover in this episode check there cuz I might have already gone over some
of their work. But now without further ado let’s get into some MAN-GA. F-** Now you’re
not seeing this wrong this is officially published artwork from Weekly Shonen
Jump in the generally very well-regarded series Hunter x Hunter, by Yoshihiro
Togashi. And before I talk about this artwork specifically I want to show you
this; some other art done by Yoshihiro Togashi. He is an incredibly skilled
illustrator. This isn’t just a case of a guy who can’t draw somehow managing to
get a job doing manga art he is an incredibly skilled artist, but one who
was working under a weekly time constraint while going through some very
serious chronic back pain. And even looking at this piece I saw a bunch
people online talking about how ‘oh this looks like a five-year-old did it’ or ‘I
can’t draw it all and I could do this’ but at least I get what’s supposed to be
happening in this image. There’s a character coming towards two people that
are standing in front of a building and they’re all in a forest and then there’s
a panel of the character at the other before us giving a little wave. And I do
always think it’s kind of interesting looking at what an artist can do when
they’re in a rush because generally they’re just going to do what they
consider most essential to decent artwork. So in this panel here you can
see he’s at least made this main character the
point of contrast in the image by making him generally all white except having
the only section of solid black in the image in the hair and his shoes. And then
emphasizing him even more by framing him in the trees and in a section of lighter
washed ink that makes him that much more high contrast and pop out more in the
image. Even though it’s a really rushed drawing that isn’t great there are
elements of good art in it you can still see that he’s a guy who knows what he’s
doing. And Yoshihiro Togashi recognized that
this wasn’t fantastic artwork and well. This was the art that was published for
the Weekly Shonen Jump issues he later on would take a whole bunch of the art
that didn’t turn out so great and took the time to redraw it for the volume
releases of the manga. So you can see here it’s almost like watching someone
do the 10 minute 1 minute 10 second art challenge where you do the same piece in
a very short amount of time and in a little bit more time because you can see
how his brains working keeping in mind how much time he has to do something.
When he has a lot more time, he really renders out this crowd, has a lot more
variety in terms of the people you can see in there. As opposed to the other one
where he was working quickly and in pain and the heads are just a bunch of half
quickly drawn circles. So Togashi; incredibly skilled artists working under
some bad conditions, I think we have to give him a pass on some of the less
flattering artwork. Wow! I mean you- you tell me that I have to draw one building and
I brace myself. I really don’t like drawing buildings
and here’s Otomo just casually rendering out dozens and dozens of
buildings flawlessly page after page. This is one of the most gorgeous
sequences of pages I’ve seen in comics and there’s no dialogue and no writing
and very few character images. A lot of people get into comic book art because
they really like drawing people and specifically people in action.
Environments can be kind of boring for a lot of comic artists to draw and they can
often kind of just become an afterthought in the artwork. And not only
that, cities are one of the hardest kinds of environments
to draw because with things like nature there’s mountains, trees, rocks that can
all be a bit weirdly shaped and deformed and wonky. It can be round or sharp it
doesn’t really matter, you can make nature bend and warp in different ways
and it can still look pretty normal, but with buildings there is a much smaller
library of shapes that people will be willing to accept because we all know
what cities look like and buildings are all generally rectangular prisms with
some different bevels and different tops and lots and lots and lots of repeating
pattern windows. I think that’s personally the reason I hate drawing
buildings the most is I just hate drawing windows there’s just so many of
them it’s so irritating. And of course you have to be a lot
better at perspective when drawing shapes that are a lot more rigid like
this and cities are often in grid patterns, there’s just so much more stuff
to keep in mind and Otomo is just doing such an incredible job doing these
buildings. Even though they’re being destroyed it’s page after page of
gorgeous building and it’s really incredible. And even people who don’t
read manga or don’t watch anime have likely seen a bunch of Katsuhiro Otomo’s work. He’s not just a manga artist, he’s also a screenwriter and
director responsible, most notably, for Akira both the comic and the movie. He
directed the movie. In fact, he started working on the movie before he’d even
finished making the manga and even today, more than 30 years after its release,
it’s still a very well regarded and well remembered movie, which he’s actually
currently working on making a TV series out of it with an animation studio along
with a new original feature film that he’s working on so I’m super excited for
that. And before I move on from him I also just want to take a look at this
image here because it’s just this image just strikes me so much anytime I go
looking at some of his work. I just love how… I mean I’m very partial to things
that are central focused and it’s composed in a nice funneling triangle
but it’s also the the triangle is kind of built up by a bunch of circles that
are getting smaller and smaller. And it- I don’t know what it is, it really makes me look
through the image and kind of jumps that feel a little bit uncomfortable almost.
But like it’s really lurching you through the image and it’s such a
bizarre image and then you get down to this character in the middle that’s
sitting on this sort of moon and take one last look at him before lurching
down to the last circle and then your eye just leaves the image. And I don’t
really know how to explain this one it’s just… I really love the composition of
this piece. And of course the rendering on this this sort of second circle in
the series… it’s so bizarre and cool and has so many weirdly detailed elements to
it. Those teeth they’re just very unsettling. And yeah, it’s just one of
those ones but I can’t totally explain what I love about it, but I really do
love it. I think it’s incredibly fascinating
looking at ONE’s original One Punch Man artwork versus Yusuke Murata’s
redraws. For anyone that doesn’t know, I mean most people probably have heard of
One Punch Man in the very least. I mean, it’s a hugely popular anime series and
manga series but this is where it started. This is the original artwork for
the One Punch Man webcomic, which is the origin of the series. And it’s obviously
a little bit lacking in the artwork department. But I’m not bringing it up to
make fun of it, I think it’s an incredibly inspiring story for any
creator out there. See ONE wasn’t an incredibly skilled illustrator but he
started the series anyway and did it as a webcomic
because he wanted to get this story out there. And people really latched on to it
because, despite the art being a little bit goofy and simplistic, ONE was a
really great storyteller and did some really great characters and it was funny
and entertaining. And the point that I think a lot of creators should take from
this is that he just got started. He didn’t wait until he thought he was good
enough. A lot of people will spend so much time trying to get good enough, get
good enough to make the project they want to make but odds are you’re never
going to feel good enough to make that project you’ve been thinking about so
just get started because maybe it’ll be something like this series, where there
could be one part of the process that you’re not great at, in this case ONE’s
artwork, but people might still latch on to the other great parts of your work.
And in the very least you’ll get better and better from working on this thing
because the more you’re working the faster you’ll improve. And if you have a
project that you’re working on you’re gonna work more I mean seriously look at
this artwork. This goofy simple art is the quality of work that was made to
create what is now one of the most well known anime and manga series out there. I
don’t think there’s any better inspiration out there to convince you
that if you’ve got a story you want to start telling, just start telling it. And
when I’m looking at this artwork between ONE’s and Yusuke Murata’s redraws it
kind of makes me think of this speech by Ira Glass that’s a sort of motivational
speech about how artists are people with really good tast,e but for the first
years that you’re a creator you’re not making something that
represents that taste because you don’t have the skill set yet to visually
represent it. So looking at ONE’s original artwork than Yasuke Murata’s
redraws, it’s kinda like looking at what one was picturing in his head but he
just didn’t have the visual, artistic skill set to get it across which is why
I think it’s such a cool pairing these two working together. And Yusuke Murata
saw the One Punch Man webcomic and went to ONE and said ‘hey, let me redraw this
and we can kind of reboot it with better artwork,’ that’s probably not what he said
that’s me paraphrasing. Yeah, that that’s one busted looking thumb and
busted looking leg. So yeah, really goofy looking artwork and without it we never
would have gotten one of the most popular manga and anime series out there
today. This piece has such a simple composition but it’s such a gorgeous and
well executed one I just I love it so much. I don’t know Q Hayashida’s work
work that well but I saw this piece and I just had to talk about it because… I
mean if you’ve watched the series you probably know I’m a little bit obsessed
with composition and how people use the way an image is framed to guide your eye
through the piece and I just think it’s a really important part of artwork and
that even if you’re not great at anatomy or coloring or rendering if you can
frame an image well and get people to look through it in an appealing way,
you’ve got a huge leg up on other artists. And it’s not that hard to
practice good composition because you can copy other people’s compositions
with totally different visual elements. For example this piece here; you can
distill the composition down into really simple stark black and white blocks like
this. This could be turned into anything composition wise. In that part of the
black that’s sticking up you could put a tree there a mountain there anything
there and as long as you compose the colors like this and keep that
as the highest point of contrast people are inherently going to focus on that
part of the image. And you can do that with a whole bunch of other pieces if
you take any artwork that you really like, as long as it’s a little bit more
fleshed out it’s got to have an environment to it or at least a
background to it, and if you either blur it or just put it into Photoshop or
something and crank up the contrast and you can just distill the idea of this
composition down into where the points of contrast are and then draw whatever
elements you want into there. As I said I’m a bit biased, but I think it’s a
really fun thing to experiment with where you’re placing things in your
image and how you’re making them a higher point of contrast and how you’re
getting people to focus on them. And as this image shows it doesn’t have to be
complicated, a really simple composition can look really good. And of course the
composition isn’t the only thing that’s great about this piece the coloring is
absolutely gorgeous. It’s a sort of grungy watercolor I think as I said I’m
not super familiar with Q Hayashida’s work process so it might not be, but looks
watercolour-y to me. And I love how there’s pretty much only two, sort of
three colors in this whole piece. There’s red, there’s blue and there’s a brown-y
yellowy sort of color for the skin tones. So that’s just another thing about this
piece that’s pretty simple. There’s a limited amount of color, it’s a pretty
simple composition and it’s just such a nice looking piece of art. And I believe
this is a cover for a series called Dorohedoro. I’m not super familiar with
it but apparently it’s getting turned into an anime next year so that’s pretty
cool too. This series look absolutely fascinating; specifically with the rendering of it. Now this character here
go- Gon? Gon. I think Gon, is one that I seen slash heard of, but the only images
I’d ever seen looked like this. So when someone recommended it as a manga I was
surprised. I said ‘that little cartoon dinosaur?’ This is a gorgeously rendered
series; I never would have imagined that this is what a comic about this
character would look like. So now that I’ve looked more into it I
can tell you Musashi Tanaka does this series called the Gon which is a
totally silent series, I mean I guess all books are silent, but I mean there’s no
dialogue or writing it’s just the visuals and none of the characters talk
and it’s just this little kind of cartoony dinosaur interacting with other
very realistically rendered animals. And the animals in this series are all
gorgeously done. They’re so realistic it’s so incredibly impressive how well
he can draw… it seems like every kind of animal in existence. There’s so many
types of animals in here that he’s just rendering out so realistically. That’s
got to take a ton of practice, I mean there are recurring elements obviously
between different types of animals, but all animals do have differences to them;
different head shapes and muscle structures, textures of skin… So this is
just incredibly impressive. And the environments are also so gorgeously done
when they get a good resting shot of just a landscape. And I know I talked
about how buildings are a more difficult environment to render, but it’s still
incredibly impressive when someone can render out a natural environment like
this. And I really love- this is a great example of an action scene in the series.
This… Gon just full-on explosively head-butting this bear. There is so much
movement in this piece it’s incredible. You can… like, I can hear a- almost a sonic
boom when I’m looking at this impact image.
And the way the bear is crashing through these trees in the- in the follow-up shot.
I don’t know if I’ve ever read a comic that doesn’t have any writing or
dialogue in it, so I think as much as there’s a ton of artists whose work I’ve
been very impressed by in this episode think I’m most fascinated and interested
in going and taking a look at this series now. And I just think that’s a
really fun concept; the main character being a pretty cartoonily shaped
character and everything else being incredibly realistic. And you have to be
an incredible artist to pull that off so that’s this is super cool and
interesting. All right everybody, that’s all for this episode. Be sure to go check
out a bunch of other videos on this channel. I take a lot of the lessons that
I learned from studying artists and these videos and apply them to my own
work in videos like turning Overwatch characters into Dungeons & Dragons
characters or Pokemon into superheroes or I did an episode where I tried to do
all of inktober in a day, I’ve got weird art challenge videos. Illustrator reacts
is just a small part of what this channel is, so be sure to check out a
bunch of my other videos. Alright everybody, thanks so much for watching
I’m Christian Pearson of PopCross Studios. This is the home of the nerdiest art
videos on youtube and I will see you all on the next one. Goodbye everyone!

100 thoughts on “Illustrator Reacts to Good and Bad Manga Art


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  2. Have you heard of Sui Ishida or Tokyo Ghoul. I think you would like the redrawn first chapter he did for his series, and his style is very interesting.

  3. aww i was hoping to see comments on ONE's later art too, not just murata's redraw (thinking mob psycho, but later one punch man chapters as well.. I'm especially fond of his monster drawings, like that one page of god)

  4. Have you ever looked into webtoons comics I have a great one to look into Kryptus it's a new comic so not many know it.

  5. 8:58 super inspirational and true shoo I started my webtoons comic called kryptus and its actually I hope getting better lol

  6. (O pior é que o Togashi desenha muito bem mas ele não é consistente igual ao anime de HunterxHunter mas na época de Yu Yu Hakusho ele não perdia a mão como HxH é longo e cheio de informações ele não mantem uma qualidade como só o Oda e o Kentaro conseguem num mangá longo)
    The worst is that Togashi draws very well but he is not consistent like HunterxHunter's anime but in Yu Yu Hakusho's time he didn't lose his hand as HxH is long and full of information he doesn't maintain a quality like only Oda and the Kentaro get in a long manga.

  7. 16:17 I’d recommend looking at goodnight pun pun it’s a very playful looking manga with a slightly dark strong to it
    The art is really beautiful

  8. the "scribbly" chapters of Hunter x Hunter are actully my favourite chapters in terms of art. The drawings are simple but all the emotion and flow gets transferred so well.. maybe even better since you focus more on what's happening and less on the looks.
    It's one of the prime examples for me that you can make a great manga with simple art, as long as the story and flow are really good.

  9. D.Gray-man by Katsura Hoshino is really well drawn and it also shows an artists journey, the art work has changed a lot over its run time.

  10. I feel like because One’s art isn’t technically skilled, it allows for the anime to be fantastically vibrant and move. It gives the animators more room to do more! Look at Mob Psycho 100 especially to see this.

  11. Felt kinda dissapointed that you didn't show ONEs more recent art, such as from Mob psycho 100. His style evolved ALOT, and especially in very intense moments his artstyle is better than most manga artists today.

  12. Wanna check my manga art? I take half a year to make a single chapter, so my art improves with each chapter.
    And it's just 10 pages each, I wanna cry ( ;∀;)

  13. am I the only one that's going to point out that because Manga is read from right to left he completely misinterpreted the HUNTER x HUNTER comic as someone greeting people in the edge of the forest when it's actually the opposite, the main character is waving goodbye and walking INTO the forest.

  14. I'd really love to see you review Haruko Ichikawa. Her main manga Houseki no Kuni is about gemstone people. Because of the characters being made of gemstones there's a very unique way she draws. Also I love how all of her characters are nonbinary/sexless and how she shows it.

  15. I would recomend Oh Great! 's artwork, especially on Biorg Trinity recently. Also did Air Gear and the Bakemonogatari manga

  16. I know you've already looked at Yusuke Murata you still need to look at the Garou vs Orochi fight or the Saitama vs Orochi fight or the Child emperor vs Pheonix man fight, also Eiichiro Odo, specifically the Luffy vs katakuri fight, the last few pages of that fight were amazing.

  17. You should check out Slam Dunk and Vagabond by Takahiko Inoe, his art is incredible and looking at the progress between those two aforementioned manga blows me away. He's fantastic

  18. I wonder if u know that a lot of the backgrounds and environments are done by the manga assistants that are integral to how manga artists function.

  19. 10:30 i just want to point out that while ONE'S art may not be as well drawn as most Mangakas you can still tell the good technical skill he has by the layouts of the original webcomic and how well the action flows.

  20. Takehiko Inoue is an absolute must. I'd recommend looking at his famous manga Vagabond, It's use of brush art is something you don't see too often in manga. But it would also be interesting to look at his early to later work in his nationally beloved (like really, really beloved) manga Slam Dunk, as his artstyle really matured during it's run.

  21. I still think you sold ONE short. Have you seen some of this panels in Mob Psycho 100? They're astounding and shows you how much he's progressed in these years.

  22. Fun Fact: Even after Yosuke Murata started redrawing OPM, ONE didn't stop drawing. ONE has continued his original OPM webcomic, and is also drawing Mob Psyco

  23. Please do Hajime Isayama please! From his art at the beginning of Attack on Titan to how it greatly changed and improved over time.

  24. ONE's shitty, funny-looking artwork works because OPM is a comedy/gag manga. Murata's gorgeous art just make it look awesome, but not funny. They turned a gag manga that parodies shonen battle manga into a basic shonen battle manga.

  25. would love to see your reaction to the art of Daromeon especially in the later chapters of kengan ashura and during kengan omega

  26. I'm assuming you haven't covered Eiichiro Oda yet because his art is usually pretty simplistic and it's hard to find great examples to talk about.
    That being said:
    One Piece is just fun to read. His panelling makes reading One Piece one of the best comic experiences I consistantly have.

    Also, much like Togashi, he's been illustrating weekly for WSJ for 22 years, and his art is still great despite that fact

    (I feel like you're teasing me with that intro lol. Thought you were talking about Oda)

  27. Tetsuo Hara, the artist for Fist of the North Star. His character designs in the later volumes is just incredible detailed.

  28. i prefer ONE's version of one punch man rather than Murata's… simply because it's funnier to read… altho i did view some murata chapters when im curious how he drew it.

  29. Sakamoto Shinichi is a really fantastic manga artist (who has a couple of series but none translated into English). Some of his manga art (I think from his series Innocent Rouge) was even featured in the Louvre, so you know he's legit. I'd recommend checking him out if you have the time lol

  30. Togashi also only have his wife as drawing assistant. She's the one who did Sailor Moon. That, combined with being perpetually ill made his art highly inconsistent.

  31. I would love to see you tackle Takeshi Obata! He’s amazing All you need is kill is beautiful. Inio Asano is also amazing Asano’s manga Solanin is beautiful and his manga A girl on the shore is really uncomfortable because of the awkward sex scenes but it’s a beautiful story about growing up.

  32. In the manga industry, most of those complicated backgrounds are usually done by assistants instead of the artists themselves so that they can make it to the deadline. I'm also not doubting the artists, I'm sure they're absolutely capable of drawing complicated and intricate artwork (eg: manga covers)

  33. do a reaction on Boichi, his art is gorgeously rendered and he has really good flow in his images, especially in action scenes.

  34. Makoto Yukimura has already been named for his incredible art style (and evolution thereof) of Vinland saga

    But you should also check out Takehiko Inoue who did Vagabond and first and foremost Kentaro Miura, creator of Berserk. Together with Yusuke Murata I would say these four are the most praised mangaka for their pure draftsmanship alone. Just reading an early chapter of Vinland or Berserk and comparing the already great art to later chapters feels totally breathtaking.

  35. Hooray! I found a new favorite YouTube series! Since everyone's dropping recommendations, I'll add a couple of mine:

    Tom Parkinson-Morgan, author of the webcomic Kill Six Billion Demons. Not only is it an amazing series, his spreads are gorgeous, and the design of everything is just fascinating.

    Ito Ogure (a.k.a. Oh! Great), author of Tenjo Tenge and Air Gear. I know manga is incredibly diverse in its art styles, but I would probably define his art as the most manga. The subject matter of his stories can be iffy, but he never fails to make everything look *so damn cool*.

    And I'll add my voice to the people requesting a look at Eiichiro Oda's ever-evolving work on One Piece.

    Can't wait for the next episode!

  36. im stop the video when you said "ONE is not illustrated well",,, i think you should stop talking about manga, manga is japanese thing, and only the author/artist draw that kind of thing who understand it, japan have looot better artist, but only few choose become a mangaka, they have high standart about stuff that what kind of manga which interesting , and not about how bad or good the art,,,,, you should research more about the topic and not just describe amazing,, bizzare,, etc,etc,,

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