The Road to Manga - Project Management 101 | Olga Rogalski | Skillshare

The Road to Manga - Project Management 101

Olga Rogalski, Professional Mangaka and Illustrator

The Road to Manga - Project Management 101

Olga Rogalski, Professional Mangaka and Illustrator

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11 Lessons (36m)
    • 1. About this Course

      0:38
    • 2. Project Management in Manga

      1:24
    • 3. The Phases

      1:26
    • 4. The Planning

      8:45
    • 5. The Writing

      1:52
    • 6. The Design

      5:49
    • 7. The Manga

      5:38
    • 8. The Business Package

      4:08
    • 9. The Publishing

      5:30
    • 10. The Class Project

      0:46
    • 11. Conclusion

      0:28
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About This Class

Have you ever wished to create your own manga but the task seemed too daunting and complex? Then this course is for you.  

My name is Olga Rogalski from Studio Oruga. I have published manga professionally and have amassed quite a lot of experience in the planing and management of projects. In this course I will break down the creation process in clear executable steps, which can help you organize your manga creation process - whether for a short story or a long one.  

Meet Your Teacher

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Olga Rogalski

Professional Mangaka and Illustrator

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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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Transcripts

1. About this Course: Hi, if you wish to create your own manga, But the task seemed too daunting into complex. Then this course is for you. My name is auger guys give from studio or yoga. I've published mango professionally and have amassed quite a lot of experience in the planning and management of projects. In this course, I will break down the creation process in clear executable steps which can help you organize your manga creation process, whether it is a short story or long one, Good luck. 2. Project Management in Manga: Let's be honest, creating among us, not just the BOD drawing, manga pages and anybody who has ever tried it will know that it is easy to get lost in the process, even for short story. Having a clear understanding of each steps that you have to take can help dissipate your fears and help you save time and your nerves in the long run. A manga project involves a lot of preparation. And it's better to take you time in the beginning than having to scrub month and months worth of work. Because the story lost its way and you noticed it too late. I know everybody wants to jump directly into the drawing of manga pages, but please be patient. You manga deserve set. So why is project management needed in manga? Because drawing a manga is heart, and especially when you are in the middle of the project, the lack of sleep and exhaustion might lead to wrong decisions. Believe me or not, having done the preparation early can help you stay on track even under the most deadline stress. Just take your time with the panning and later on you can trust the decisions that you made when you were still sane interested. So are you ready to jump with me into the process cubic goal? 3. The Phases: Sa already mentioned creating among us, not just about drawing, there are other things involved. I like to split the process into the following phases. Here, I will give a short overview and then elaborate on each face later on. While I mentioned this phases in consecutive order, it does not mean that you can't go back to prior phases and edit things. Of course you can do that. Phase one. The planning. This phase deals with things that concern the concept of the project itself faced to the writing. This face deals with the writing side of your project, which lays out the groundwork that will follow later on. Phase three, the design. This phase will provide you with the visuals for your manga and determined the style it gives you a story of phase, so to speak, phase for the manga, this face is about the actual creation of the manga pages. Phase five, the business package, drawing manga is not enough in order to get people to read it. You have to advertise it. Also, this face helps you to plan ahead with the production of merchandise. Phase six, the publishing. This phase deals with the publishing of the manga. So let's look a bit closer at each phase. 4. The Planning: In this phase, you determine the basic information about your projects, the timeline, and the social map. Let's look at the project information. Here are some of the factors that can make or break a project, especially when working with publishers, it is important to know how much time we have for drawing a project. But even without publishers, it is something you have to consider. Let's use the following situation. There's a convention next year. I know as long as covered is still rampant, it's unlikely, but let's talk hypothetically. Let's say there's a conventional six months and you want to create and sell your manga at the convention. Though, more realistically, it would be a Wunsch Watson. There are very few people who can go through all of the steps of the creational half a year. So you have your start day and your final deadline. But I wouldn't recommend to set your deadline at the convention time, give yourself at least a few weeks of buffer time. Even better are two month buffer time, a lot of things can happen. So calculating in additional Thomas very important. In fact, a lot of publishers and no calculate month of buffer time or wait with the announcement of a project until it's completely finished. There are just too many things that can go wrong and cause a delay or even a constellation. Next, there's the question of the length. In my opinion, this is one of the most important questions. One of the most common rookie mistakes as being too ambitious and going for a project that is just too big and would take a decade or more to complete. On the first try, I would suggest starting with something smaller, something that you can manage. Think about how many pages, chapters, or volumes your project is going to have for reference, I have seen one shots for up to 56 pages. A volume can have between one hundred sixty and two hundred pages. As for volumes, there's no limit, but I really wouldn't recommend to go over one volume on the first try from what I have seen, even full-time artist spend at least a year on one volume. But the work without assistance and those people are with experience in finishing projects. So it is really an important question to consider. How much time do you want to invest into this project? And the time is determined by the length of the project and you're drawing speed. And of course, other factors like you help other responsibilities and your goals. Next come the questions of hunger and target audience. What niche or you're targeting, and who are you drawing for. Different type of manga require different approaches as two different audiences. So it's important to think about. Then comes the question of the publication format. Is the project going to be printed or is it going to be online? It is important to think about because certain types of online publication are difficult to print. A neat adjustment. I'm talking about forms like endless canvas or colored versions. When you print your manga yourself, you have to consider things like printing costs and colored manga is more expensive to print unless your target both media directly and make sure that the pages can be adapted both for printing, for internet. The next question is about the medium of creation. Are you working with traditional media, digital or a mix of both? If you're working with traditional media, you have to make sure that you have a good scanner. And especially when working with screen tons, you have to make sure that your scanner can remove more. It's a pattern that some scanners cause when the scanner fails to recognize each dot on the screen tone, it looks like a type of checkered pattern. Though nowadays people mostly used digital screen tons. It's less than for problem. Just make sure not the stack dot screen tons on top of each other because this can cause more to appear digital as well. Next comes the question about the production specifics. Let's say you want to use a certain printing company for your manga. They usually have measurements and format requirements on their website, which is best to follow so that they are not issues when you want to print your manga. And they also provide templates. Different printing companies may have different requirements, so it is important to keep them in mind from the beginning. Or your publisher expects it to deliver your pages with certain measurements and we're certain file formats. Same story, worked with them from the beginning. It will save your panic sessions later on. If you don't have a publisher yet, but blend to approach publishers, It is good to have a list of the publishers who already have projects in the same niche that you are targeting. Oftentimes punisher views a project because they feel that the project is not for them, because it's in the wrong niche. They know their audience and know what they are audience will expect from them. And since they are typically risk averse, they go with what they know and what sells for them. If you are intending to publish your mango online, unless you publish on your own website, it is good to do your homework and checkout which websites are round and what requirements they have. Also, take time to read the terms of services. Next comes the question of research. Unless it's something fictional or that you are familiar with, a story usually requires summer research. It might involve the research of a geographic location, of history, of culture or some sort of specific topic. Putting it on the to-do list early on is a good idea. And last but not least, is the question of languages. If you attempt to publish your project in more than one language, it is good to keep in mind, especially with sweat publications that may involve different online platforms. These are at least the basic points to address at the start of the planning. But there are other things to keep in mind, like the timeline. I'm not talking about the time you need to do your project. Rather, I'm talking about in what timeframe you stories taking place. I would suggest to do the step in tandem with the writing process, which is face to what you already can make plans. For instance, this is a system that they use to keep an overview of the scenes. It happened in a certain chapter and attach them to a timeframe. Let's say your story or at least chapter one takes place around the time of March to July of 2019. The first scene starts in May of 2019. The next thing progresses to the end of May into the beginning of June. Since three happens at the end of June in the beginning of July. While scene for is a flashback that addresses a situation which happened in March. Sin five continuous time-wise birthday in three has left off and progresses to the middle of July. The Tammy curious, arbitrary. You can adjust the timeframe from chapter to chapter and do it in years or even times of day. It's just to keep a track of the scenes that happened in each chapter and even volume, I will provide the template as well as the other files. Powerpoint file that you can adjust to your needs. The next thing to address is the social map. It involves the relationships between the characters. Who is your main character, and what relationships does he or she have with other characters? Will their relationship changes the story? Can friends become enemies and enemies become friends? Will a hero go bad or vice versa? Especially with stories that involve a lot of characters, it is good to help yourself keep track of their relationships, not only of main characters, but also side characters. People are moved by different personal motivations. And a personal motivation of Aside character might provide the key to solving an issue that the main characters facing. So think about it. I would suggest to draw US National Map while you are writing a story. 5. The Writing: I won't be going too much into detail on this one as I already covered it in my other school, shock less about creating a short story concept. So we'll be brief. I will include the template for story writing in their attachments. This face in both the writing of character biographies, the writing down of the story summary, then the story outline in the script. So what's the difference between the summaries, the outline and the script? In the summary, you write down a short description of the main events that happened to the story. Be brief and try not to make it longer than one page. In the outline, you break the story down into volumes. Of course, if you have volumes, then the volumes into chapters and then the chapters into scenes, write a brief description of the scene may be short paragraph. It's also a good idea to decide how many pages are seen will have. In this case, the timeline will be useful for this one. And it is a crucial step because changes, they're made quite easily without you having to lose a lot of time and having to redraw pages. So take your time for the step. The next step in the script. Use the information of the outline and write our page by page and panel by panel description of the things that are going on in the story. This also involved the dialogue. You could combine the step with the paneling lettering and thumbnails steps of face for but you don't have to. But as long as you don't have the clean pages drawn, you can go back and the justice crypt anytime. Of course you can do it after that as well, but it's just more work. 6. The Design: Let's talk about the design. This phase involved the creation of character sheets, expression sheets, fashion sheets, locations and references. Optional steps are sheets of exercise, color charts, storyboards, 3D models, and merge design. So let's start with character sheets. How much work you want to put in, in how detailed you want them to be depends on you. Just remember that it will be helpful to plan and to try out things in this phase. Because when you start doing the pages, changing designs will come with additional work and loss of time, at least to a close up of the character in frontal side was 3 fourth, it is also good idea to do expression sheets. How much work you want to invest this up to you. For a short story can use a few expressions. But for long story you can make more expressions or many more showing the face from different angles. Or you can go crazy and just do a sheet, bear mood from different angles like neutral, happy, hippie with eyes closed or angry. And that for each character, fashion sheets can also come in handy. That way you can create a helpful guide for yourself that you can consult when doing your story. That helps a lot when you're characters going to where more than one outfit, the same character can give off completely different wives with varying different clauses. So try things out. Like in this case, my character Gabriel, spring, classic losses and looking very differently compared to Him bearing stage clothing. Here's another example of patriotic seawater mean even with the same pose, the utmost fear around the characters different depending on the clothes. And here's an example with Marie Saint Paul's different clothing. At this stage, you can also try out how you designs would look like when drawn black and white and green tones. Like in this example with Leah, who, as you can see in the last set of outfits, really loves cats. I also find size charts useful. It can help you remember how big the character are in relation to each other and to their surroundings? You can find the template in the attachments. I have used the metric system because it's the one used over here, but you can adapt it to your needs in care. So use the imperial system. Next come locations. We can include drawings of the locations from different perspectives in this stage, like with this gym, locker room. Or you can use reference images that you can consult when drawing your backgrounds. In this case, I added background images that they created based on photos of big citizen towns. If you store is taking place in the city that you live in or have been too. You can also add photographs. Manga Chi, use photographic reference all the time. They even sent out their assistance to shoot photos of different locations from different perspectives that can then be traced by using a light table. Now, let's talk about the things that are optional, especially for longer stories. It might be a good idea to include the same attention to the other swath that is given to expression sheets, particularly in fantasy stories that have weapons or armor. And when there are a lot of different assessors involved. Same with color charts. Keeping in mind what color you use phone, which character can be a huge help when doing a longer story. But even in a short story, it can help, especially when you go for color instead of keeping a black and white. Storyboards can also be helpful. Though. I'm not talking about detailed storyboards like for movies. I'm talking about creating drawings of important scenes. It is particularly helpful with longer stories. Not only does it give you goal posts that your story can go towards, it also have several other benefits. For one that gives you the opportunity to get the scenes out of the way that you really want to draw. And that are stuck in your head early on. But at the same time, it will help you later on because you're already designed the important scenes. You can use them directly or parts of them. Another thing, our 3D models, it might come as a surprise, but a lot of professional manga artists are using them. I know a number of artists who build 3D models of backgrounds that most frequently appear in their manga by using blender or sketch up, it is also possible to import blend or backgrounds in such as software like clips studio paint that not only has it's own 3D backgrounds, but also come with possible 3D mannequins or other 3D assets. Another optional point, designs for merchandise, something to consider. Let's take clamp for example. They designed their characters in a way that it's super easy to make merge from them. Take more corner, for example, which featured as a mascot and several of their stories. But they don't have to go that far. He could, for instance, Ledger character wearer, t-shirt with a design that you can also put it on t-shirts and bags and other stuff. Why not benefit from your work? And in multiple ways. 7. The Manga: Finally, we come to the manga faith, the one that involves most of the work and it's also the most important. If you have finished the other steps by this point, it should be relatively easy to do because you already have a plan of how many pages you want to do it, what goes on every page and into every panel. What a sayed how the characters and the surroundings look, and so on. You might even already have done some storyboards of the most important scenes and have done some work on the paneling, the speech bubbles in the thumbnails. But if not, it's time to do it. Now. Let's start with page thumbnails, bundling, and speech bubbles. So what our thumbnails, basically there are small rough drawings of your pages. They don't have to be detailed. In fact, you can just use stick man. It's about readability in the composition of the page. But don't start filling them with the drawings yet. First, I would recommend you to start with the panels and the speech bubbles when drawing the page thumbnails, the form of the panels and the positions of the speech bubbles will determine how readable you manga is going to be later on. I won't go into detail here because I already covered the paneling, speech bubbles in my class about paneling. But the great thing about someone else is that they don't require too much work and you can redo them relatively easily, especially since they are released more or after you are satisfied with the sump north of the pages, you can enlarge them to a format that you want to work on. Usually it's twice as big as the format compared to the final printed version. So if you want to print on a five, you do your page, at least on A4. Though there are manga Carr who work even on A3. The important thing is that the proportions remained the same. They are also called aspect ratio. But the bigger the format, the more works goes into it. So be warned, you can burn a hot rolling of who'll manga on A3? Believe me, I know my first long project called triple switching are that they did for Tokyo pop was done on A3 and towards exhausted at the end, I had to go on a break from drawing for month after that order to recuperate. So at this stage with the clean pencil drawings, you can go out as much as you want with the details, depending on your inking style, you can create a blueprint to be followed with inking or give you self basic directions. This also the phase where it can best ad effects and sound words. Next comes the inking. I won't go too much into detail here since I already addressed it in my inking classes. When inking traditionally, there are different ways. You can either ink on the same piece of paper with pencil drawing or use a blue pencil that you don't have to erase when scanning. Or you can keep the pencil drawing in the inking on different sheets of paper and use a light table to transfer them. This is what I often do because it makes erasing the pencil lines and necessary. And I also don't have to fear making mistakes with ink and ruining the pencil sketch, like accidentally pouring the ink on the page. In such a case, I can just use a new sheet of paper. But depending on whether you ink traditionally or digitally, it influences the next step. If you ink traditionally on the same paper, ASU pencil drawing, you have to erase them eventually and don't take this task lightly. After erasing the pencil drawings of our whole chapter, my arm was basically useless for the rest of the day. And since you probably you will be doing the lettering and apply the screen tons or the coloration digitally. You will also have to scan the pages. This will likely involve some sort of clean up afterwards, so blended into a schedule. Next come the screen tons. That can be done traditionally or digitally for those who don't know, screen tones are those dots and pattern that you'll find in manga that indicates shadows, colors, patterns, textures, or moods. There even are screened tons that have full backgrounds on them. But nowadays it's rare for people outside of Japan to do them traditionally. Even inside Japan, finding chief screen tons is hard. And it was softwares like clips to your paint that come with that tone of built-in screen tons, it is much cheaper to do them digitally. Though. It is possible to do a mango without green tones are coloration. You inking is good enough. The last part, the lettering, which means adding text to your page, are also done digitally nowadays. And don't underestimate the process. It takes a while. Even for short story, you might spend a whole day adding the text. So don't assume that the EU will be done with it in an hour, blend in the time. 8. The Business Package: This phase is quite important and most frequently neglected. It is best to at least prepare for it while you are drawing the actual manga, I suggest to take it into your deadline. What's the duration and try not to put it off until the end. Let's take the cover. Why is it important? Because it sells the project. A bed cover can mean that the manga is not sold. So you or your publisher end up sitting on unsold copies. Or was web comics are bed cover can mean less clicks and depending on the model use, but the website you uploaded, it may mean less or no revenue at all. So take your time developing a cover illustration, then come the other illustration. Generally in addition to the cover, they are at least as many chapter cover illustrations of are chapters. These are usually printed in black and white. Oftentimes each chapter has a bonus illustration as well, NACA GB. These are also usually printed in black and white. And then there are often additional illustrations that come before the chapters that are printed in color. Most commonly the numbers four to one page illustrations and one double-page. But there can be more or they can be less. It's just that you have to keep in mind that you will have at least to have as many illustrations at their chapters. And of course, these can also be used for promotional materials. Next come the cutouts. Cutouts. When an illustration of your character without a background that can be used for promotional purposes. They also can be used for merchandise. So let's talk about promotional materials. These include illustrations, shortened spice descriptions of your manga, or blurbs from other creators. If you've worked with a publisher, they usually take care of that. And the only requests but they need from you, for example, illustrations. But if you create and publish the manga yourself, you have to take care of that as well. No matter how good a project is, if people don't know about it in they often find is through others, they won't buy it. So try to get as many eyeballs on your project as to can. Next, if the merchandise concept, merchandise is a great way to have additional income through your manga project. It can be many things like posters, bookmarks, stickers, stationary, for example, post-it notes, hence, pencil cases, folders, notebooks, or it can be things like tee-shirts, begs, key chains, and many other things. Of course, this means additional production cost and you have to know your audience. If you have the opportunity to have a booth at a convention, try selling merchants, ie, what sells best. Different creators attract a different audience that buys different things. I suggest not to go overboard at the beginning. Try not to have more than 25 pieces of each merge type in the beginning. See what sounds best. And of course, if you work with a publisher, they usually take care of the production, cost and distribution of merchandise as well. On a side note, you should know that in Japan most money's made not by drawing a manga, but by hitting it turned into an enemy. Why? Because having an enemy usually means that there would be merchandise created and sold of the project, which is why the manga covered the wealthy are those with the animate and merchandise deals, those without on-demand merchandise steals usually barely earn enough to get by. I have to work a regular job and create Mangan, decide. 9. The Publishing: Since it depends on which way you choose, all the options in the publishing phase are optional here. So which one to take? If you just want to create your manga and get paid for it going the publisher route is the way to go. It's not the easiest way though, since publishers are quite picky with who there sign up, it is much more expensive for a publisher to create an original project compared to just buying a license for an already existing project abroad. So they have certain expectations and will also want to have a say in the creation process. I have addressed this topic in my class on how to find publishers. So if you want to go that route, it is best to have the published on board before the project is completed and optimally from Chapter one, it does have benefits to work for a publisher since they have fun, extensive network connections to sellers, connection to the media, and have people for all sorts of tasks from the production to marketing. They also organize events that promote the manga or bring you and your manga to establish the events like conventions and book fairs. They also helped to organize signing sessions at bookstores, which are usually paid. For example, when I had my signing sessions, I was paid €50, which is about 60 US dollar PER hour for signing my name and my Mongo. They also get request from bookstores and institutions for drawing workshops. In those in-person drawing workshops pay really well for reference, depending on who I did the workshop for, I was offered a pay off between €7,250 per hour to do a workshop. Some of my colleagues who published with publishers and more money doing promotional tourists was signing sessions and drawing workshops than they originally did receive from the project itself. Of course, the publisher also takes care of traveling, food and accommodations when you have to go somewhere to promote your manga. In my cave, those were usually four to five star hotels when I had to go to book fairs and conventions when I was in Paris, my French publisher just send that money to buy food at the hotel on the days they weren't going with me to the restaurant. I don't remember exactly how much it was, but I think it was like 200 Euro. Our German publishers, general, religious, took us out to eat in a restaurant. But as I said, it's not easy to get sign up with a publisher. Generally it works like that. You work on a contract basis for the publisher ACEF, freelance creator to create the manga. You don't get paid per month. Usually get paid a fixed fee based on delivery. And depending on the contract, that can be 50% upfront when you signed the contract. In the other parts, after you deliver certain batches of your manga, some publishers agreed to pay the full fee upfront, though these instances are really rare and they don't do that was first-time creators. They had too many bad experiences with people disappearing. Some publishers pay when the manga is done. It really depends on your contract and your negotiation skills. And when the project is done, yogic ends unless they are promotional activities. But generally that means that unless you have signed a new contract for a new project, there is no additional money which can make the time in between projects particularly stressful. So keep that in mind. Of course, if you don't want to deal with publishers, you can print your project yourself and sell it at conventions or online. Printing is not cheap, but if your work is good, you can get it crowd funded, for example, by using Kickstarter. Or you can make people pre-order your project if you already have an audience and use the fonts to print on demand plus print additional copies for sale at conventions. In this case, you have to learn how to market your manga and how to advertise it on line. Learned to develop a business network and learned the basics of marketing. Again, if you don't have money to invest into printing, don't want to go the policy route. Don't have a following yet and just want to have people read your manga. You can use platforms like web tunes to publish your project. I suggest research in which platform suits your project best. But if you want to go the publisher or crowdfunding rude, it is best to develop a pitch deck for publishers, said, checkout my class on how to find a publisher as for crowdfunding, as a just researching successful campaigns for manga publications on Kickstarter and see how they did it. Though generally, if you have worked through the phases presented in this class, you have got all the material that you need to pitch your work to the publisher. 10. The Class Project: For the class project, I want you to use the materials in their attachment and take your own manga projects through the different phases. To reiterate, the phases are as follows. Phase one, the blending face to the writing. Phase three, the design phase for the manga, phase five, the business package, phase six, the publishing. It is not for my benefit that you do that, but for yours in order to get your project organized into create manageable goals and set milestones that can lead to project success. So good luck. 11. Conclusion: I hope that you have enjoyed this course and I hope that you will make your manga success in whatever way you decide to publish it. If you want Schoenberg and the project calorie and let me know how you lack this course into what other topics would be interesting for you so I can cover them in my future courses. Thank you for taking part in this journey. Good luck.