I apologize, the video speed is a bit too fast, so I recommend playing it at 0.25x speed or pausing it while watching. Also, operations on vector layers are covered again in another new tutorial video, [Vector Editing Line Art Tutorial], so you might want to check that out.

Introduction

In this TIPS, I will introduce how to utilize vector layers for drawing onomatopoeia and sound effects in manga, by actually drawing sound effects into the manga above. English subtitles have been added to the video, so please check it out if you like.

 

Vector layers store stroke information, like bones, inside the drawn lines.

Specifically, these are the components that make up a line, such as its trajectory, thickness, and brush information.

This vector information can be easily edited even after the line has been drawn.

 

 

 

Hand-drawn lettering in manga is also composed of lines and strokes.

Editing and processing can be done more efficiently by performing them for each individual stroke.

 

This is quite difficult with raster layers, but

with vector layers, you can easily edit text you've drawn once, even later.

 

In this tutorial, I would like to cover how to efficiently edit and complete hand-drawn lettering such as sound effects and onomatopoeia using this vector function.

 

 

Introduction and Preparation of Tools and Functions to Use

Before you start drawing, I'll introduce the tools and functions used for drawing text on vector layers and prepare settings for them.

The six main tools and functions to use are as follows:

(1)[Selection] tool various types (Lasso selection, Selection pen) ([Marquee] tool(Lasso,Selection pen))

(2)[Select Overlapping Vectors] function ([Select Overlapping Vectors])

(3)[Object] tool

(4)[Correct line] tool various types ([Correct line] tool)

(5)[Layer Property]-[Border effect]-[Edge]

)

(6)[Outline Selection]

 

(1) to (4) are particularly important for vector editing.

 

The locations of each tool are as follows. They might be a bit hard to find, so it's better to grasp their positions by watching the video.

 

(1) [Menu]-[Window]-[Tool]-[Selection] tool

(2) [Menu]-[Selection]-[Select Overlapping Vectors]

(3) [Menu]-[Window]-[Tool][Operation]-[Object] tool

(4) [Menu]-[Window]-[Tool]-[[Correct line] tool various types

(5) Top part of Layer Property

(6) [Menu]-[Edit]-[Outline Selection]

Since these tools and functions are used frequently, I recommend registering them as shortcuts or in quick access, or setting them in the selection launcher. Please refer to the positions above when registering them.

⑤ is in an easy-to-find location and isn't frequently switched, so you don't need to register it.

First, I'll explain functions (1) to (3). Consider these three functions as one set.

Before that, let's do one preparation. When you perform operations (1) and (2), the tool automatically switches to the [Object] tool (3). However, with the default settings, only rigid transformations can be performed.

At this time, please set the [Transformation method] at the bottom of the [Tool Property] to [Free Transform].

 

Next is the [Correct line] tool (4). In particular, I frequently use the [Pinch vector line] tool.

You can move lines drawn with vectors as if you were pinching them with your fingers.

It's a useful tool for fine adjustments.

Now you can freely transform only arbitrary strokes of onomatopoeia drawn with vectors.

(1) Target with the [Selection] tool,

(2) Capture the line you want to edit with [Select Overlapping Vectors],

(3) Edit with the [Object] tool, and

(4) Fine-tune with the [Pinch vector line] tool from [Correct line]...

 

This is the basic flow of vector editing. We will make corrections like the character "ga" below.

I will omit the basic explanations of (5) and (6), but I will explain how to use them differently.

(5) [Border effect]-[Edge] is used to draw white text with a black border, or to draw a white border around text.

It's a very convenient function, but it has drawbacks such as not working correctly when the layer opacity is lowered, and not being able to draw borders using brush shapes.

So, when you want to draw text with a transparent tone or draw a border with a brush, it's better to use (6) [Outline Selection] to outline with vectors, then change the brush tip or shape, or trace the outline and draw over it normally with a brush.

 

(5) can also be used on folder layers, allowing for a double border around text within a folder.

A drawback common to both (5) and (6) is that the lines are uniform and lack modulation.

In this manga example, where unmodulated lines felt insufficient, I directly added lines on a separate layer. There are other methods, but I will introduce them on another occasion later.

Practice! Let's Draw Sound Effects into the Manga!

Now it's time for practice. Let's fully utilize what we've learned so far and draw in the text. The image below is the manga we'll be adding text to this time.

 

 

Page 1, panel 1: A suspicious masked man sneaks up on a shrine maiden happily eating dango while sitting on something. The shrine maiden seems to be returning from shopping, as her furoshiki cloth is full of dango.

Page 1, panel 2: The masked man steals the furoshiki cloth with the dango and flees. The shrine maiden is startled and flinches.

 

Page 2, panel 1: "Wait, you dango thief!" The shrine maiden was sitting on a cannon imbued with spiritual power. Wearing a fox mask, she immediately aims the cannon.

 

Page 2, panel 2: The masked man, while eating dango and fleeing, is surprised by the shrine maiden's cannon.

Page 2, panel 3: The shrine maiden's cannon fires.

Page 2, panel 4: The shrine maiden's cannon hits the masked man, causing a huge explosion.

If we add onomatopoeia to every action, there won't be enough space, and it would just be annoying. So, we'll limit the number of onomatopoeia to only the crucial ones for the story's progression. It's best to decide all text and positions during the rough draft, plot, or storyboard (name) stage, but in reality, things often need to be adjusted later.

 

 

First, from page 1, panel 1, we'll draw the onomatopoeia "Mogu Mogu" for the shrine maiden girl happily eating dango.

Since the cute girl is cutely and deliciously eating dango, I decided to draw the text in a cute style to enhance her cuteness without obstructing it. I tried to eliminate sharp parts as much as possible, aiming for a rounded silhouette.

 

When adding modulation within a single stroke, making it thicker or thinner, I balance the typeface by making another part thinner or thicker accordingly.

 

Since chewing sounds are constant with no changes in rhythm or volume, all character sizes and spacing are unified. A slight difference can change the reader's impression, so please pay close attention to these details. Onomatopoeia is the expression of a situation. It requires as much concentration as drawing a character's facial expression. To save time, I copied and pasted the first "Mogu" for the second "Mogu."

 

By applying tones and adding gloss, I made it three-dimensionally rounded, but

the uniform border line felt hard, so I added shadows on a separate layer to give it a rounder finish. The image below is the finished product.

I didn't notice it while drawing, but I thought it might have been good to make the "dakuten" (voicing mark) part of "gu" into a heart design.

Next is the onomatopoeia "Sorori..." representing the suspicious masked man sneaking up.

I wanted to give the reader an eerie impression, so I aimed for a calligraphic style.

 

Also, here it might seem like I'm partially using an eraser on a vector layer. This is actually not possible on a vector layer and is one reason why vector layers are often avoided by creators.

However, although not widely known, if you draw with transparent color over a black line on a vector layer, you can achieve an effect similar to erasing with an eraser, and I'm utilizing this property here. However, it's important to note that the line is not actually erased. The transparent vector is simply overlaid on top of the black vector. This technique is very useful not only for onomatopoeia but also for drawing characters and backgrounds, but be careful as transparent vectors can unintentionally affect the bucket fill or vector intersections. I will explain the details on another occasion.

I've digressed, but with this, page 1, panel 1 is complete.

Next is page 1, panel 2. I added text while paying attention to the same points mentioned in panel 1. To make the "Ba!" sound of the masked man stealing the furoshiki, the most important action, stand out, I placed it large inside a speech bubble.

Next, I drew the equally important sound of the masked man's escape, "Daa!". At this time, I was careful that the direction of the sound effect (green) did not intersect with and cancel out the direction of the action (red). Avoid examples like purple, which intersect perpendicularly with red and cancel out momentum.

Next are page 2, panels 1, 2, and 3. This is how they turned out.

First, I drew the "Jakin!" sound of the shrine maiden aiming the cannon in panel 1. I drew it by carving it out, using a transparent vector color like an eraser.

 

I expressed the sharpness of metal by making the shape as pointed as possible. I was careful not to make it as delicate as the "Biku!" in page 1, panel 2, aiming for a heavy feel. Also, I aligned the direction of "Jakin!" with the direction of the aiming action and the panel.

The sound of the shrine maiden putting on her mask was omitted because it wasn't particularly important and there wasn't enough space.

The "Ooooo" in panel 2 is more of an atmospheric sound than a whooshing sound. It's often inserted during a pinch to add impact when nothing else is drawn. If you're stuck in a battle scene, feel free to rely on "Ooooo!" or "Goooo!".

The "Don!" in panel 3 was initially a solid black fill, but since it hid the firing effect, which was a waste, I depicted it as transparent with a tone. After drawing "Don!" with a normal solid black fill, I outlined it in black on a separate layer, and then toned down the opacity of the black "Don!" to make it transparent.

Finally, here's the highlight explosion scene. It turned out like this.

Compared to the previous panels, the amount of information and elements has dramatically increased.

Three-dimensional space, ground, blast energy, light emitted by the explosion, and so on... We need to consider adding impactful text while ensuring that each element is not compromised.

However, the more elements there are, the more constrained the optimal screen composition becomes, so surprisingly,

there isn't much room for hesitation. With the experience gained from previous panels, you should be able to handle it sufficiently.

Now let's look at some of the elements that make up the screen.

The red lines represent the components of the explosion's glow and the direction of the blast.

Next, the blue lines are a rough guide for the expansion of space itself.

When you combine these two elements, it looks something like this.

Let's draw while imagining this kind of expansion.

To prevent the shrine maiden from being hidden by the text, I masked the part where she is.

This method is used when you want to draw text on a panel but don't want to hide the character.

 

 

While showing the text, I searched for the best shape, being careful not to hide the explosion.

Personally, I prefer "Dogo!" as it's more concise than "Dokaaaaan!", but since the explosion part would inevitably be hidden, I reluctantly gave it up this time.

This method of drawing text is the same as with "Jakin!" earlier; I drew it by carving it out, using a transparent vector color like an eraser.

 

Finally, I added white spattering over the text to represent sparks...

It's complete!!

How was this TIPS?

This time I introduced how to draw using vector layers, but vectors also have their weaknesses and inconveniences. It's best to draw using whichever you prefer, taking advantage of the strengths of both raster and vector.

 

Also, while the sound effects that appeared this time were all common ones, I think it's good to actively include sounds you've never seen before or original sound effects.

I feel that onomatopoeia often reflects the author's sensibility and heart.

As one draws manga, how that person perceives those sounds and emotions is reflected in the onomatopoeia itself, becoming part of the artist's individuality.

Sometimes, onomatopoeia can even start a small trend, making people want to say them out loud.

When drawing onomatopoeia, I think it's best to listen to the matter or emotion, and pursue the words and shapes that best describe it to your own heart. Even if it's a new onomatopoeia you've never seen or heard before, I believe it will ultimately be a good thing for the readers. Getting to know sensitivities different from your own is quite a pleasant experience. Don't be afraid to try it.

 

I hope this TIPS helps everyone observe the world and pursue drawing better onomatopoeia.

 

Since I haven't been able to explain all the functions of vector layers, I plan to explain them in several parts later.

The video below shows the entire process of drawing the sound effects for the manga created in this TIPS.

This is the entire drawing process for the characters and explosions on page 2.

 

Please refer to it if you like.

Thank you very much!