If you are at all interested in the art of manga sound effect replacement, check out Chainsaw Man. Tatsuki Fujimoto draws striking sound effects with both cool shapes and textured edges like fine hatching or rough offset. Sabrina Heep replicates it brilliantly. Comparisons below. https://twitter.com/VIZMedia/status/1379569646320386050
From the panel in the Viz tweet, we can see a font that conveys a similar thickness of block character, even when distorted. An offset is used on the outline to replicate the sketchy edges. The sound effects are masked by the art and blend in really well.
From the panel in the Viz tweet, we can see a font that conveys a similar thickness of block character, even when distorted. An offset is used on the outline to replicate the sketchy edges. The sound effects are masked by the art and blend in really well.
From the panel in the Viz tweet, we can see a font that conveys a similar thickness of block character, even when distorted. An offset is used on the outline to replicate the sketchy edges. The sound effects are masked by the art and blend in really well.
This one is deceptively complex despite looking simple. The letters all have similar sizes and weight to the originals. There's deft placement to cover up the originals to minimize retouch, but retouch was defintely done so that the letters maintain their cadence.
This one is deceptively complex despite looking simple. The letters all have similar sizes and weight to the originals. There's deft placement to cover up the originals to minimize retouch, but retouch was defintely done so that the letters maintain their cadence.
This one is deceptively complex despite looking simple. The letters all have similar sizes and weight to the originals. There's deft placement to cover up the originals to minimize retouch, but retouch was defintely done so that the letters maintain their cadence.
This one is hard to work with! "SMASH" doesn't map to "ゴバ" visually at all. The first "SM" follows the curve of the"ゴ" very nicely. There's an offset outline, supplemented by hand-drawn flourishes. Love how it came out.
This one is hard to work with! "SMASH" doesn't map to "ゴバ" visually at all. The first "SM" follows the curve of the"ゴ" very nicely. There's an offset outline, supplemented by hand-drawn flourishes. Love how it came out.
This one is hard to work with! "SMASH" doesn't map to "ゴバ" visually at all. The first "SM" follows the curve of the"ゴ" very nicely. There's an offset outline, supplemented by hand-drawn flourishes. Love how it came out.
This one shows off the kind of sound effects I love from Fujimoto. A screentoned character with hatched speed line edges. Gotta be a nightmare to retouch. The crossbar of the H seems to reuse some of the original, with Vertical lines widened. Love the edges being replicated.
This one shows off the kind of sound effects I love from Fujimoto. A screentoned character with hatched speed line edges. Gotta be a nightmare to retouch. The crossbar of the H seems to reuse some of the original, with Vertical lines widened. Love the edges being replicated.
This one shows off the kind of sound effects I love from Fujimoto. A screentoned character with hatched speed line edges. Gotta be a nightmare to retouch. The crossbar of the H seems to reuse some of the original, with Vertical lines widened. Love the edges being replicated.
This one is neat because it "breaks rules" but stays legible. The original reads right to left, this one goes (middle) left, to right, to further down and left. Generally not advised, but it's pulled off really well here.
This one is neat because it "breaks rules" but stays legible. The original reads right to left, this one goes (middle) left, to right, to further down and left. Generally not advised, but it's pulled off really well here.
This one is neat because it "breaks rules" but stays legible. The original reads right to left, this one goes (middle) left, to right, to further down and left. Generally not advised, but it's pulled off really well here.
Going from one large character (with a very small second) to four is tricky. This nails the way the original has solid vertical edges, hatching on horizontal edges, and smaller later characters.
Going from one large character (with a very small second) to four is tricky. This nails the way the original has solid vertical edges, hatching on horizontal edges, and smaller later characters.
Going from one large character (with a very small second) to four is tricky. This nails the way the original has solid vertical edges, hatching on horizontal edges, and smaller later characters.
Aside from the first example, these are all from the preview of volume 4, which is a portion of chapter 26. There's so much more in there. I encourage you to pick up the volume and compare it with the simulpub version. It's very cool.
I forgot to mention the incredible "BZZZ" in this image! Each of the English letters reuses portions of the katakana. Can't get more authentic than that. Same perspective foreshortening! Same staggered arrangement! It rules! https://twitter.com/coyboybeboy/status/1380144201258663938?s=21
You can follow @CoyboyBeboy.
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