The Road to Manga - Paneling 101 | Olga Rogalski | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (23m)
    • 1. About this course

    • 2. Page Layout

    • 3. Types of Panel Design

    • 4. How to Panel 101

    • 5. Reading Flow

    • 6. Panel Content

    • 7. Class Project

    • 8. Remember!

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About This Class

Have you ever wished to draw your own manga but have difficulty when it comes to translating your amazing ideas into manga pages? Then this course is for you. 

My name is Olga Rogalski from Studio Oruga. I have published manga professionally and have been in love with manga for many many years. In this course I want to teach you my techniques.

In this part of my course series I will be teaching you how to use paneling in manga. Back when I started drawing manga, I was coached vigorously by my editor about paneling. Now, I would like to share my knowledge with you. If you are able to draw illustrations, then you also can draw manga… if you know how.

Let´s get those amazing ideas that are still stuck in your head onto paper!

You will need:

  • your ideas,
  • skills and
  • usual manga supplies like paper, pencil, ink nib and/or fineliner

You will learn:

  • basic page layout
  • types of panel design
  • how to panel
  • reading flow
  • panel content

The course will include: 

  • examples and explanations of how to plan your own manga pages

Meet Your Teacher

Teacher Profile Image

Olga Rogalski

Professional Mangaka and Illustrator


It is never too late to start...

That is what I told myself when I first took up drawing seriously at 18 with the big idea of becoming a professional mangaka. Of seeing my books in the bookstores and touching the hearts and minds of readers.

A shy girl from a poor immigrant family in a sleepy provincial village in Bavaria, without any connections or funds. I knew that I would have to learn fast, be bold, be courageous. And I knew that I would make my dream a reality.

And I did.

Not right away but the following 4 years of constant study, self-imposed drawing bootcamps, searching, learning, project d... See full profile

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1. About this course: Hi. Have you ever wished to draw your own Munger? But have difficulty when it comes to translating your amazing ideas into Munger pages and then the courses for you? My name is Al Gore gasket from Studio Yoga. I have published Munger professionally, and I have been in love with Munger for many, many years. In this part of my course serious, I will be teaching you how to use paneling in manga. Back when I started drawing Munger, I was coach rigorously by my editor about paneling. Now I would like to share my knowledge with EU. If you are able to draw illustrations, then you can also draw manga if you know how. Let's get this amazing and years that are still stuck in your head onto the paper, so let's begin. 2. Page Layout: format in Japan, Munger is generally drawn on before former. But depending on where you want to publish or whether you want to self publish, the measures can be different. So if you want to work for a certain publisher, you have to find out what former they use information like that. It's usually found on their website in the submission section or can be requested by email , for instance, the publisher that they worked for use different formats and spacing. Similarly, printing companies may be using different four months. It is generally cheaper to print in a widely used format, instead off a special former. So when you self publish, you might want to keep the costs low and use one of the generic form. It's usually can sign information regarding accepted form. It's on the printing company websites, including templates, whatever former to use that terms that applied to all off them. This pacing may change, but please keep this terms in mind. Canvas canvas refers to the piece of paper for the file that you're drawing on. Thing is, when among the pages created, it is actually bigger than the printed version. Not only the original actually bigger perfecter off about 1.5 or twice as big as the printed version. But it this big in terms off drawings, especially with Munger pages, were drawings go beyond the edge off the Munger. The drawings extend beyond the page and for good reason. It is to avoid errors at the printers, such as cutting off off the pages. I will talk more about that in trim line and bleed the next term a safe area or life area, the term safe area or life area, or first to the center off the page. All important text and drawings should remain inside the life area so that it is not cut off or disappears inside the binding margin area. The margin is the area between the safe area in the trim line. Generally, this era remains free of drawings off texts, unless you deliberately want to extend your Penhall beyond that for effect or to give a Pennel more importance, or to create a spread for the drawings, fill the page beyond the printed area. Remember, you should definitely award placing any text inside the margin area Trim line. Dreamland refers to the edge off the page. It is the part where the pages cut off at the printer's everything outside will be cut off . Bleed bleeders on additional area outside the trim lands at this plant in when creating a file for printing, especially withdrawing that go beyond the trim line. You have to draw them at least three millimeters of thought. The page that is in the scaled down version for printing or at least six millimeters when your original, twice a speak as the printed version. Why? Because the cutting machine might make a mistake and cut unevenly. So if you do know, draw beyond the trim line into the bleed, it will result in the white borders if you draw into the bleed. Even if there is a slight mistake in cutting, it will not be as obvious. Personally, I generally draw a centimeter or so into the bleed so that I have more to work with, even Page and Page. If you want to work for a certain publisher, it is important to be familiar with a printing system. For instance, some publishers begin the first Munger page that is not including the covers and illustrations on an about page, while others begin it on even page with a double page spread. Things like that are important to know when you're planning spreads. It is important to imagine how the pages will look when printed, when the readers will have to turn the page so that you can arrange the reading floor accordingly. Which is why I generally work with spreads instead. Off single pages spread or double page spread refers to a double page in manga. They are usually drawn together when you have a Pennel that spreads over two pages, but you can also use it when designing normal pages. Personally, I often use a three s a canvas and draw my pages as double pages, which gives me full control off the Penhall Inc. 3. Types of Panel Design: What are the different types off panel design, Depending on what story you want to tell and the tone you want to tell it in, you can use a different panel design. And while there's aesthetically a difference between Children shown and Penhall design, it is mainly in the spacing between the pages. Other rules remain applicable. Also, it is not obvious at the first glance, So what are the different types of panels heard? Santel. Horizontal panels are perfect for wide shots shots. It involves a lot of hurts, gentle background or a lot off Texas as well as close ups. They are more static and relax that other panels. Vertical vertical panels are more dynamic and are more fit for showing a scene with a lot of height, like a building, a tall person or when there's a lot of sky dynamic, dynamic panels break the Penhall mold, insides and direction. They are usually used for action scenes like fighting spreads. Spreads are pedals that stretch toe Ah, who page or even a double page and are reserved for scenes with a lot off impact and importance 4. How to Panel 101: when you're just starting out, there are a lot off things about paneling that you have never heard off. I will provide you with a simple overview. Spacing. While their differences between the types of spacing and Munger it is best for you to decide on your own and stick to it. Generally, the horizontal space between pedals is bigger than the vertical space, but they exact spacing in terms off millimeters may very position in Japanese reading direction. The first panel on the right side is red first, but you can emphasize that by expending the Penhall upwards into the margin and thus placing the top panel off it higher than the next panels that forces the reader to read it first, even if the reader does not know what reading direction to your stories in. By doing that, you can force them to recognize the Japanese reading direction but breaking the mold and placing the pedals wider part. You can also symbolize the passage of time or change of the location or situation. Optimal number of panels. The more penalty use, the more clattered your page becomes. On average, the most relaxed reading experience is achieved by using five panels or less. We can use more, of course, by arranging small panels in Penhall blocks. But if you go to more than 10 panels, it can be quite difficult for the reader to figure out how you pages threat. 5. Reading Flow: some of the least known techniques in the most frequent error for beginner Munger are just It's the reading floor. So what does the reading flow mean? Exactly what it say's It is the way how your readers are reading you Munger the path, their eyes, steak as they wander through the page, you can make the journey difficult for them, or you can make it either. The easier you make it for you readers to get through the page, the last annoyed and confused both the readers be. The readers can get quite unnerved when every page is like a riddle off trying to figure out which panel is read in what order? Optimally, your readers shouldn't even have to think about that. So how do you influence the reading floor by peddling by placing off speech bubbles by the direction off the movement, by visual cues and by understanding. But it's important to your reader, so let's talk about it step by step the paneling optimally, your pages should not have more than five panels unless you order them in Penhall blocks. The more pen off the are, the longer the past your reader has toe work in order to get through the page with lots off two vests and turns like a mountain road with the optimal floors. When the I Mixon s route through the page provided it is the Japanese reading direction. When it is the Western reading direction, it is in the word and s. So keep in mind, the less you chase your readers through the page, the less tiring the whole experience is for the reader off you monger. Speech bubbles. Characters talk a lot and they think, Ah, lot. And every time there's a speech, bubble or thought bubble or exposition by the aerator, the eye makes a detour. In order to read it, you can either put the speech bubble in the way off the weeding floor supporting it, or you can lead your reader astray by sending them on a goose chase. One of the most common mistakes beginners make. It's not toe plan in the speech bubbles to do the drugs off the page first and then deciding where to place the dialogue later, unless you have planned the bubbles accordingly and drawn the drawings to suit it. Most often than not, speech bubbles end up at the age of the Penhall because you do not want your beautiful drawings to be called the text. And often the bubbles are too small for the text, ending up looking cramped and crowded. My tip is to plan the text and bubbles in from the beginning. At the same time, you do your Penhall placement or even before that, decide what you want to tell on that page and set up the reading flow by using your speech bubbles and panels direction off movement. The direction off movement can be used to support the reading flow. For instance, in Japanese reading direction, you read from right to left, so you can support that by arranging the movement in the panel to move from right to left. Or if it is the Penhall on the far left side off the page and the next panel begins on the far right side off the page, we can place the movement off the last panel counter to the reading direction that's guarding the movement in the direction off the next panel. Same thing on the last panel off the left page. In order to get to the next panel, you have to turn the page so you can make the movement off, the less panel going the direction off the page on the next page. Visual cues visual cues refer to the drawing in the Penhall itself. Takeshi Obata, the artist behind, does note back Oman and many other amazing serious uses them a lot. He would use the law off the drawings in the penalty to guide the I from one speech bubble to the next, like the form in the direction off the fence or the movement direction off the character. He would aim the I at the next panel like a well aimed arrow. What is important to the reader? Let's imagine the following situation You are sitting on a train, having just purchased along a dissipated the volume off a story that you laugh. You know that you have to get off the train in 20 minutes and you really want to know what happens? What will you concentrate on? Generally, the readers concentrate on the text in the faces. Reader spent most of the time looking at the faces off the characters as they support or show the emotion behind the text. Less time spent on the body unless there is some fun service involved and even less time spent on the backgrounds. On average, Reader spends a fraction off a second on the background, and I'm not saying that these are no important they are. But in the big picture off a story, most readers will use them as the orientation, but not even remember them unless they have a background fetish like I do. They will notice, however, if the backgrounds are notoriously missing or badly executed. So use this knowledge to guide the readers through the page by making use off the placement off the faces in the direction of glances. You are guiding your reader subconsciously through the page without them ever knowing it. But they will know, however, is how comfortable off her reading experience your story is. They don't ever need to know that you have manipulated them, so this will be our secret 6. Panel Content: I want you to think about something. What is the most important thing in your story? What's in has the most impact, the most war effect? Have you found it? Then give it the biggest panel or even a spread. Similarly, there's usually a big background Penhall at the beginning off a story showing the reader where the stories taking place questions in sorts like that are important part of the planning process, and it will help you fill the pedals and tell the story the way you want to tell it. And this lesson. I will talk to you about basic panel content establishing shorts. In these shots, you establish your location and provide information. Where does the scene take place? Is it a city, village or forest? What time of year is it is a day. Is it night? How is the weather? Is it even Earth another planet? Another dimension is that the present past or future I should like that can provide a lot of information visually so that you read a can place the story. Also, the stab off short can be combined with Exposition exposition. In the exposition. The situation is explained with birds it may mention the time place or inform on the character's identity or the theme off the story. Try to keep it a short it's possible Wide shot, it goes closer to the characters, shows them and their surrounding shows what is going on, how they interact with the world. Who is the story about the nearer Get to the character, the more you can show their body language and facial expressions action dynamic panels tilting perspective when drawing action scenes. Not only is it recommended to use more dramatic perspectives energy laden poses and effects like speed lines but also dynamic panels till that horizon open panels and spreads how to choose a perspective. Low angles are used for dramatic scenes. High angles give you an overview off the surroundings, but they also can be used to create drama. While most panels are at eye level, a word one point perspective with thieve engine point smack in the center, such perspective looks unnatural. Put thieve in itching points loudly to the side. He radical proportions and paneling. Important scenes get bigger pedals than less important scenes. You can even use spreads over one or a double page. Let's imagine a scenario. Your characters reading a book in the lab. Aries Suddenly R T rex barges into the room leading to your character, dropping the book, which seen, will get the biggest pedal or possibly even a spread, Obviously, that you're expecting in, because should the part where they dropped the book get the biggest Penhall? It would confuse the reader but giving too much attention to the book. Unless you want to draw attention to the book because it is a book about summoning dinosaurs, close ups avoid using too many close ups. Close ups mean that the camera goes really close to the character, especially with close ups. Use big panels. Use them for the most important scenes and, for the most important, dialogue atmosphere panels. Sometimes panels are used that are not essential to the story, but that provided with an atmosphere like with nature shots. You don't have to draw on insect traveling off our leave. But if the store is taking place in spring and summer, it can enhance that feeling off nature and off season. Another variation is when you are using a wide shot in the middle off the story, not because you need to show what's going on. But in order to convey our feeling off the scene by dramatically posing your characters in the environment with a carefully chosen perspective and lighting affect emotion, pedals, effect or emotion. Panels are used in order to emphasize things that are being said or thought instead of just using simple text. Speed lines and screen tones or hatching can be used in order to convey a sense off urgency or show a feeling. Dialogue panels. They are moments in stories where there is less action, but there's a lot of information that has to be passed on or where emotional bones are established. Depending on how much space you have, you can use small panels or have the characters interact with their environment giving and spoken hints through their body language. It is important to show reactions to what is being said. Opened panels. You don't have to confine your characters exclusively. Two boxes. In certain scenes, you can make the character stick out off the box. For instance, when one Penhall simply an open text panel and have a corrector stick out off the books into the text panel, you can show that the thoughts belong to that character. It can be done for additional faces or to create a pose went to spread and when not, you spreads for important and impactful scenes. But don't use them just to increase the page. Count breaking the mold in order to give your page a more dynamic feeling or, in fourth the reading direction, you can move the panels up and down, open them or make them expand. As long as all the text stays in the safe zone, everything is peachy. For instance, you can expand the first panel off the page up. It works well with images off the city's over. There's a lot of sky. By expanding the panel up, you signal eyes that this is really the first panel, and the reader is automatically drawn to it similarly, but making the less panel off the page go out off the page, particularly on the left page in the Japanese reading direction for the ride page in the vest on weeding direction, it enforces the reader to flip to the next page. It is good to use in dramatic situations in dramatic situations. You can move the next panel slightly down in order to give it a more than Nemec Luke. Tilting the horizon by a few degrees can strengthen the dynamic even more. 7. Class Project: Let's create the introduction page to you manga for the class project. I want you to start at the beginning. I want you to develop the first page off you monger on this page. I want you to show the location to introduce the main character to the reader and give a hint regarding what the story's about. It doesn't have to be complete or perfect. It is only the first glimpse the readers will get into your story. So the sum it up, you will need to introduce the location, introduce the main character, and it reduced the theme of the story. 8. Remember!: always remember dry things out and see what works for you and your very own and unique style. The advice that I'm offering in this course is to help you find your way. If you have not yet found it, try and see what works for you. If you need assistance, please feel free to contact me. If something is not clear, ask away. I will be there to help. Good luck.