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Manga Studio 5 Beginner's Guide
An extensive and fun guide to let your imaginaon loose
using Manga Studio 5
Michael Rhodes
BIRMINGHAM - MUMBAI
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Manga Studio 5 Beginner's Guide
Copyright © 2014 Packt Publishing
All rights reserved. No part of this book may be reproduced, stored in a retrieval system,
or transmied in any form or by any means, without the prior wrien permission of the
publisher, except in the case of brief quotaons embedded in crical arcles or reviews.
Every eort has been made in the preparaon of this book to ensure the accuracy of the
informaon presented. However, the informaon contained in this book is sold without
warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers
and distributors will be held liable for any damages caused or alleged to be caused directly or
indirectly by this book.
Packt Publishing has endeavored to provide trademark informaon about all of the
companies and products menoned in this book by the appropriate use of capitals.
However, Packt Publishing cannot guarantee the accuracy of this informaon.
First published: April 2014
Producon Reference: 1170414
Published by Packt Publishing Ltd.
Livery Place
35 Livery Street
Birmingham B3 2PB, UK
ISBN 978-1-84969-766-8
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Cover Image by Michael Rhodes ()
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Credits

Author
Michael Rhodes
Reviewers
Heldrad
Dawn Blair
Melissa Darkshore
Mark Egan
Acquision Editors
Edward Gordon
Subho Gupta
Content Development Editor
Balaji Naidu
Technical Editors
Rosmy George
Krishnaveni Nair
Prash Soman
Copy Editors
Roshni Banerjee
Sayanee Mukherjee
Karuna Narayanan
Laxmi Subramanian
Project Coordinator
Kran Berde
Proofreaders
Simran Bhogal
Maria Gould
Ameesha Green
Paul Hindle
Clyde Jenkins
Indexers

Hemangini Bari
Tejal Soni
Graphics
Ronak Dhruv
Producon Coordinators
Kyle Albuquerque
Conidon Miranda
Cover Work
Kyle Albuquerque
Conidon Miranda
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About the Author
Michael Rhodes took apart grocery bags at the age of ve to create pads of drawing
paper. Decades later, he sll hasn't stopped, although he has switched from grocery bags and
crayons to charcoal, paint, pen, ink, and computer. He has taught web designing at Silicon
Valley College and has conducted cartooning classes for elementary school children. He has
illustrated Tales of The Living Room Warrior, an eight-part fable following the epic adventures
of cats from the creaon of the world to the domescaon of humans.
He is also the creator of Thingies, a fantasy comic book series that details the adventures
and perils that a reporter experiences while she uncovers secrets of her universe. His books
and art work are carried by Fantasc Comics in Berkeley, Heroes and Villains Comics in
Pleasanton, and Solo Comics in the Napa wine country. He holds a Bachelor's degree in
Digital Design. His cartoons and artwork are displayed at www.crtoons.com and
www.quatumgumbo.com.
I would like to dedicate this book to Janet, my wife, my partner,
and my always.
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About the Reviewers
Heldrad is a freelance web comic arst who has been posng her work online since 2004.
She writes and draws her own stories, and lately, she has begun self-publishing her comics

at local convenons and parcipang in the internaonal manga contest, The Morning
Internaonal Comic Compeon.
Dawn Blair has a passion for telling stories about noble hearts and fantasc places. Though
she started out wring novels, her life expanded into art and photography. She created
Morning Sky Studios to support all of her creave endeavors: wring, painng, illustrang,
and photography. She is currently teaching herself how to animate. She began using Manga
Studio 3 and Anime Studio 5 and has loved the Smith Micro line of products since then.
She has two conal series in publicaon: Sacred Knight and The Loki Adventures,
published by Morning Sky Studios, as well as a non-con eding book for authors tled
The Write Edit. She has won numerous awards for wring, painng, and photography,
and has collectors of her art in Canada, Spain, Australia, and the United States.
You can nd out more about Dawn Blair and her work on her websites www.dawnblair.com
and www.morningskystudios.com.
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Melissa Darkshore is a self-taught arst who enjoys sing down and bringing her
imaginaon to life through various mediums.
I would like to thank Smith Micro for bringing us needy arsts such a
wonderful and versale app for drawing and painng.
Mark Egan is a web cartoonist based in Oslo, Norway. He is an Irish expat and originally
comes from the Dublin region of Ireland, but has since lived in China as an English teacher
before seling in Oslo.
He graduated from Grith College, Dublin with a Bachelor of Science degree in Computer
Science in 2004, and following his me in China, started his career in the Telecom industry
in Ireland, working as a call center agent. He later progressed to technical roles prior to the
economic downturn in Ireland, aer which he migrated to Norway, where he connues to
live and work.
Having been acvely cartooning since 2003, he focuses on producing manga-style web
comics. His main noteworthy works are Back Oce, an oce comedy based in a call
center, and Bata Neart, a magical girl web-manga set in Ireland.
Both the comics are published online via rawrtacular.com, which is the main portal of

his studio, RAWRtacular Producons.
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Table of Contents
Preface 1
Chapter 1: Installing and Seng Up Manga Studio 5 9

Preparing for installaon 10
Computer requirements 10
Monitor 10
Tablets or input devices 11
Workspace 11
Installaon of Manga Studio 5 11
Where are those les? 12
Starng up Manga Studio for the rst me 13
Not your morning cereal 13
Palees, toolbars, and documents 13
The main Manga Studio 5 toolbar 13
Palees 14
That new document template smell! 16
Time for acon – creang a new document dialog box 17
From your hand into the computer 20
The Wacom tablet control panel 20
Manga Studio 5 Stylus sengs 27
From a blank document to a nished page 28
Summary 30
Chapter 2: Messing Around with Manga Studio 5 31
The dreaded blank page 31
Time for acon – making our comic book page preset 32
Making our marks 34
Time for acon – sketching and the digital environment 35
The marking tools 37
Inside a marking tool 40
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Table of Contents
[ ii ]
Creang our rst custom pencil 42

Creang our custom marking tool 43
Time for acon – duplicang an exisng tool 44
Time for acon – modifying the new Sketching Large pencil 45
Drawing with our new pencil tool 49
Duplicang subtools 51
Dierences between Revert and Register 52
Time for acon – duplicang a subtools for our second pencil 53
Creang a details pencil 54
Time for acon – making a detail pencil, our third pencil 55
What about the brush category sengs? 57
Making a custom sub group 58
Making folders and saving les 60
Tesng out the pencils 62
Summary 65
Chapter 3: Formang Your Stories 67
Story formats 68
Comic strip 68
Comic book 68
Graphic novels 69
Publishing 69
Making the page presets 70
The comic strip 70
The double-decker comic strip 71
The comic book and graphic novel 71
Sengs for the new document dialog box 71
Tabs in the canvas area 73
Modifying older page presets or the character sheet revisited 75
Time for acon – modifying an exisng page preset 76
Using grids for display leering 77
Using text for the rst me in Manga Studio 80

Adding content to the material palee 85
Time for acon – making new materials 85
Summary 90
Chapter 4: Roughing It 91
What are roughs? 92
From script to panels 92
Time for acon – breaking down the page 93
Examining a page breakdown for the sample story 94
Zoom in and Zoom out 97
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[ iii ]
Making our page 98
Life with layers 98
Know your buons 100
Time for acon – using layers 101
Layer properes 103
Drawing our rough page 105
Time for acon – making our mark on the page 105
Using the layer color eect 106
Time for making acons 108
Time for acon – making acons 109
Time for acon – adding exisng acons 110
Filling in the panel contents 111
Rening the roughs 112
Time for acon – rening the line 113
The process so far 114
Panels in Manga Studio 115
Time for acon – creang and seng up a frame folder layer 116
Using the cut frame border tool to make panels 118

Time for acon – cung frames out of the frame folder layer 120
Seng up panels in separate folders 124
Time for acon – creang an acon to create a frame folder layer 125
Making panels separate frame folders 127
Time for acon – making new frame folders using the cut frame border tool 128
Time for acon – bleeding out to the ends of the page 132
Summary 134
Chapter 5: Pung Words in My Mouth 135
The soundtrack of comics 135
Got to get them all 136
Font formats 136
Comic leering font convenons 138
Categories of comic fonts 139
Leering in Manga Studio 5 139
Preparing our page for leering 140
Time for acon – wring the script 141
The text tool 143
Time for acon – using the text tool 143
Text tool sengs 146
Font category 146
Text category 147
Sengs of eding category 148
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Table of Contents
[ iv ]
Time for acon – creang a text tool for dialogs and capons 148
Pung down text on the page 150
Time for acon – leering our rst page 150
Adding dialog balloons and capon boxes 155
Time for acon – making a custom dialog balloon subtool 155

Making dialog balloons on the page 156
Time for acon – ballooning our dialog 156
Summary 163
Chapter 6: Pencil Mechanics 165
The hidden hand of comics 166
Time for acon – preparing our workspace 167
Making a basic detailing pencil 169
Basic pencil sengs 169
Time for acon – conguring the pencil size and pressure sengs 169
Time for acon – conguring ink and an-aliasing sengs 172
Establishing a look for the pencil tool 174
Time for acon – conguring brush shape categories and sengs 174
Time for acon – conguring correcon, starng, and ending sengs 178
Making selecons and working with them 184
Resizing panel artwork and the selecon launcher 186
Time for acon – adding a buon to the selecon launcher 186
Time for acon – resizing a selecon 190
Rulers and curves 194
What good are rulers? 194
Rulers in Manga Studio 195
Creang an abstract design ruler 196
Time for acon – seng up our document and tools 196
Creang lines and curves for the design 199
Time for acon – drawing the straight lines 200
Time for acon – making a curved ruler 203
Snapping our pencils in a good way 205
Time for acon – snapping pencils to the rulers 206
Geng some perspecve 209
Time for acon – creang a perspecve ruler 209
Managing perspecve and other rulers 214

Interface tweaks to make penciling easier and faster 217
Drawing with transparency and other digital benets 217
Time for acon – drawing with transparency 218
Layering our pencils 218
Unmasking masks 219
Time for acon – seng up our layer 220
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Table of Contents
[ v ]
Time for acon – drawing on the mask 222
Time for acon – applying the mask and merging layers 223
Using reference images 226
Summary 228
Chapter 7: Ink Slingers 229
The role of inking 230
It's all about the lines 230
Inking tools in Manga Studio 232
Markers 233
Time for acon – making a technical pen subtool 233
Time for acon – inking basic shapes with the technical pen 235
Pens 238
Time for acon – creang an inking brush with custom pressure sengs 240
Time for acon – pressure sengs 242
Brushes 244
Time for acon – using a Bit Husky brush for ne inking 244
Airbrushes 245
Time for acon – using the airbrush for shading 246
Decoraon 248
Making a Kirby Krackle tool 248
Time for acon – craing a custom Kirby Krackle tool 249

Time for acon – creang the brush ps 252
Time for acon – adding the brush ps to the materials 253
Time for acon – adding the brush ps to the brush 255
Inking our page 258
Seng the tones 259
What's so great about tones? 259
Time for acon – locang tones in the Material palee 260
Time for acon – preparing artwork for tones 262
Time for acon – inking pencils with tones in mind 264
Time for acon – applying tones to artwork 265
Time for acon – making our own tones 267
Summary 269
Chapter 8: Coloring the World 271
Using the color theory for digital works 272
Coloring in comics is a history 273
Examining the color tools 274
Color choosers 274
Manga Studio's color wheel 275
Time for acon – using Manga Studio's color wheel 275
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Table of Contents
[ vi ]
Time for acon – shortcuts for switching main and subcolors 277
The approximate and intermediate color palees 278
Color sets 278
Time for acon – making a 70s comic color set 282
The eyedropper tool 286
Looking at colors IRL 287
Using the color marking tools 288
A process for coloring comics 289

Time for acon – seng up our le for ats 290
Time for acon – making a ang brush 292
Coloring our ats 295
Time for acon – coloring the at color layer 297
Time for acon – using the auto select (magic wand) tool 300
Painng our comic 302
Time for acon – tool sengs for painng 302
Time for acon – basic painng techniques for comics 304
Summary 307
Chapter 9: Adding a Third "D" 309
3D objects in Manga Studio 309
A basic primer in 3D 309
3D in Manga Studio 5 311
Dealing with 3D objects 311
Time for acon – placing and manipulang a 3D material 312
Using a 3D mannequin 316
Time for acon – posing the 3D mannequin 316
Time for acon – making a scene 320
Manga Studio's 3D features and the future 321
Summary 322
Chapter 10: Caring about Sharing 323
Art is just part of the process 323
Exporng from Manga Studio 324
Paper or pixels 326
Proong and reviewing the work 327
Tips and hints about spelling and grammar 327
Prinng our comic 328
Using our home printer 328
Time for acon – seng up prinng at home 329
Using a copy store 334

Time for acon – exporng for copy stores 335
Going for print on demand 337
Web comics and other Internet graphics 339
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Table of Contents
[ vii ]
Time for acon – exporng for the Web 339
Other ways to display 341
Applicaons other than Manga Studio 342
Geng the word (and pictures) out 343
Keeping the momentum 343
Summary 344
Chapter 11: One More Thing 345
Manga Studio 5 EX 346
Stories 347
Time for acon – starng a story 347
Time for acon – the Page Manager window 350
Batch operaons 356
Import 356
Time for acon – using the batch import 357
Export 358
Time for acon – using the batch export on our comic 359
Process 361
Time for acon – batch processing a story 362
Wrapping up the Story menu 364
Summary 366
Pop Quiz Answers 367
Index 379
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Preface
Manga, comics, sequenal art, cartoon strips, and graphic novels are all the same, they tell
stories with pictures and words. While the style, manner, and packaging of these stories have
changed, the process of creang them has remained relavely stable. The arst draws on
paper, the pages are sent to a leerer, an inker renders the pencil marks so that the pages
can be reproduced for prinng, and nally, the pages are sent to the colorist for coloring.
The system has remained basically the same (with occasional ourishes) and lasted since the
beginning of comics as we know them, from the 1940s to the 1990s.
Then, computers came along, and as the saying goes "everything changed."
Way, way back in 1988, Mike Saenz drew a comic called Shaer. It was the rst comic enrely
drawn on a computer. Using an, now ancient to us in the new millennium, original Apple
Macintosh with MacPaint, I read it and my world changed. Sure, I sll drew on paper, but
programs like Photoshop, Painter, and Illustrator became more robust and I was able to do so
much on my trusty Mac IIsi with an incredible 32 MB of RAM.
Things evolved very quickly, because of you know, Moore's Law (go ahead and do a search
on it if it's new to you).
Malibu comics was the rst publisher (that I know of) to incorporate digital coloring in all
their comics. Then, leerers got into the digital game. Graphic tablets became the norm.
However, the process of comic creaon, in this new froner of digital producon, was sll
piecemeal. Everything was so page-centric that the story became hard to see. There were
dozens upon dozens of les, some for pencils, others for inked work, and then copies of les
that were leered and colored. Dierent applicaons were used, somemes, for each step of
the way. The system remained the same while the tools changed. Is your head spinning yet?
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Preface
[ 2 ]
What comic creators needed was a new tool. What we got was Manga Studio. And
everything changed.
I heard about this program lurking in various forums. Soon, I had Manga Studio EX 3 installed
on my Mac. Ever did something that you got right from the start? I grokked Manga Studio the

moment I rst used a pencil tool in it. I could create pages within stories; no more dealing
with dozens of les or hunng around and being xated on lenames or directory structures
as much as before. Here was a program that got comics in a way that no other program did
before. Instead of having to work the way a program wants you to, Manga Studio allows the
arst to determine how to work. No more hacks, add-ons, or manually using masks to make
panels, Manga Studio does it all, in one place.
Manga Studio was my Star Wars. It changed everything.
My wife says that I'm a brain-dumper, meaning that I get the structure of a story rst and
then ll in details. With Manga Studio, I was able to sketch out an enre story, roughly, and
then go in and add, delete, or move pages as it t the story. I could see the enre story,
in thumbnails before me—on the computer! This was big stu for me. No longer was I a
prisoner of lenames. No longer did I have to sketch out my story on paper and scan the
sketches to individual les. I only had to worry about the art of comics.
Now with Version 5, drawing, inking, and coloring comics is even more elegant. Heck, you
can even skip the inking and just paint your comics if you're so inclined. The engine that
drives the various marking tools (pencils, pens, and brushes) has been overhauled to make
customizaons even easier. If you're not the type to roll your own, there are many pre-made
brush sets for penciling, inking, and painng for Manga Studio 5 that you can purchase (go
to , see some examples of Frenden's work, and check out his
Manga Studio 5 brushes).
In this book, I tried to cover the really important aspects of comic creaon using Manga
Studio. It's done in such a way that we can see how Manga Studio ts into the producon
process of comic creaon. I've put in some exercises for neophyte creators to get us all
used to this app. My approach was to introduce this app to not only those who are budding
comic creators, but to those who are new to Manga Studio and want to know how to use
it in their workow.
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Preface
[ 3 ]
No app is perfect, nor is there truly an applicaon that can really "do it all." The previous

statement notwithstanding, neither is Manga Studio perfect. I'm a leering, calligraphy,
and font nut, so I come down hard on Manga Studio's leering abilies. But instead of just
whining about it, let's consider a work-around. Be sure to check out the free e-book where
I introduce you to Comic Life 3, whose only job is to leer comics. It does that job very well,
and in the e-book, I'll show you a method of using it in conjuncon with Manga Studio
(and other graphic apps if you've not seen the Manga Studio light).
It's quite possible that in the next ve, ten, or more years, it'll be the next big thing in
creang comics. It will probably change our world. But for now, we have Manga Studio 5.
With it, we can change the world. One story at a me.
What this book covers
Chapter 1, Installing and Seng Up Manga Studio 5, is where it all begins. Installing and
registering Manga Studio 5 is covered in this chapter. Geng started with creang a new
le and using a pencil tool is also covered.
Chapter 2, Messing Around with Manga Studio 5, is a walkthrough of the basic interface
of Manga Studio, from the dreaded blank page to the plethora of palees in this program.
The marking tools of Manga Studio are covered.
Chapter 3, Formang Your Stories, covers creang presets for comic pages or comic strips
and more. A brief taste of the Material palee and the text tool is also included.
Chapter 4, Roughing It, examines the crucial step between story idea and pung that story
down in comic storytelling. Aspects of layers are covered, as are Auto acons—a way of
recording steps that can be replayed anyme.
Chapter 5, Pung Words in My Mouth, covers the capvang cra of calligraphy or leering
our comics. The limitaons of Manga Studio 5 are candidly examined and work-arounds
are invesgated.
Chapter 6, Pencil Mechanics, explains tool creaon to using rulers and perspecve guides.
Chapter 7, Ink Slingers, focuses on tools, techniques, and more to render artwork in Manga
Studio. Do not miss the shocking secrets of the Material palee explained in this chapter.
Chapter 8, Coloring the World, displays the wide spectrum of color, painng, and brushes
in Manga Studio.
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Preface
[ 4 ]
Chapter 9, Adding a Third "D", covers the 3D abilies of Manga Studio and some ways
to work with the models, from placing one on the canvas to posing it.
Chapter 10, Caring about Sharing, explores the nuances of exporng for print and pixel.
From prinng out to your home printer to a faraway print on demand service and out to
the outer regions of the Internet, this chapter covers it all.
Chapter 11, One More Thing, explores the features of Manga Studio 5 EX, stories of Manga
Studio EX, batch processing of story les, and the page manager.
Chapter 12, Along for the Ride, is an online chapter that has secons and exercises that the
physical book just didn't have room for. It contains informaon on vectors in Manga Studio,
and more about color palees and rulers. You can nd this chapter at https://www.
packtpub.com/sites/default/files/downloads/7668OT_Chapter_12.pdf.
Chapter 13, Leering Comics with Comic Life 3, is an online chapter that details introducon
and methods to use Comic Life for comic leering; layout is the focus of this free e-book.
You can nd this chapter at />downloads/7668OT_Chapter_13.pdf.
What you need for this book
To make the most of this book, you need to have a copy of Manga Studio 5 and a computer
that can operate this applicaon. Although not required, a graphics tablet is good to have
as so much funconality of Manga Studio comes to life with a tablet in ways a mere
mouse cannot.
Who this book is for
This book is for anyone who draws, wants to create their own comics, and wishes to do it
digitally. For novices, the exercises within are designed to stretch their arsc muscles. And
for comic pros, the Beginner in the tle means a beginner's user guide of Manga Studio.
Conventions
In this book, you will nd several headings that appear frequently.
To give clear instrucons of how to complete a procedure or task, we use:
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Preface

[ 5 ]
Time for action – heading
1. Acon 1
2. Acon 2
3. Acon 3
Instrucons oen need some extra explanaon so that they make sense, so they are
followed with:
What just happened?
This heading explains the working of tasks or instrucons that you have just completed.
You will also nd some other learning aids in the book, including:
Pop quiz – heading
These are short mulple-choice quesons intended to help you test your own understanding.
Have a go hero – heading
These praccal challenges give you ideas for experimenng with what you have learned.
You will also nd a number of styles of text that disnguish between dierent kinds of
informaon. Here are some examples of these styles, and an explanaon of their meaning.
Folder names, lenames, le extensions, pathnames, dummy URLs, user input,
Twier handles, and Secret Idenes are shown as follows: "We want to name our le
Too_Many_Minions inside the Stories directory."
New terms and important words are shown in bold. Words that you see on the screen,
in menus or dialog boxes for example, appear in the text like this: "On the New dialog box,
click on the Paper Color check box to set the color of the canvas in the new document."
Warnings or important notes appear in a box like this.
Tips and tricks appear like this.
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Preface
[ 6 ]
Reader feedback
Feedback from our readers is always welcome. Let us know what you think about this
book—what you liked or may have disliked. Reader feedback is important for us to

develop tles that you really get the most out of.
To send us general feedback, simply send an e-mail to ,
and menon the book tle through the subject of your message.
If there is a topic that you have experse in and you are interested in either wring
or contribung to a book, see our author guide on www.packtpub.com/authors.
Customer support
Now that you are the proud owner of a Packt book, we have a number of things to
help you to get the most from your purchase.
Downloading the example les
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your account at . If you purchased this book elsewhere,
you can visit and register to have the les
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Downloading the color images of this book
We also provide you a PDF le that has color images of the screenshots/diagrams used
in this book. The color images will help you beer understand the changes in the output.
You can download this le from />downloads/7668OT_ColorImages.pdf.
Errata
Although we have taken every care to ensure the accuracy of our content, mistakes do happen.
If you nd a mistake in one of our books—maybe a mistake in the text or the code—we
would be grateful if you would report this to us. By doing so, you can save other readers from
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report them by vising selecng your book,
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errata are veried, your submission will be accepted and the errata will be uploaded to our
website, or added to any list of exisng errata, under the Errata secon of that tle.
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Preface
[ 7 ]
Piracy

Piracy of copyright material on the Internet is an ongoing problem across all media. At Packt,
we take the protecon of our copyright and licenses very seriously. If you come across any
illegal copies of our works, in any form, on the Internet, please provide us with the locaon
address or website name immediately so that we can pursue a remedy.
Please contact us at with a link to the suspected pirated material.
We appreciate your help in protecng our authors, and our ability to bring you
valuable content.
Questions
You can contact us at if you are having a problem with any
aspect of the book, and we will do our best to address it.
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