Genga (Dash)

Genga’ （ Dash ）

Genga’（ Dash ）

The Birth of Genga’(Dash)

- The following is an excerpt from a manga which was distributed by Takemiya Keiko at one of her personal art exhibitions.

- Please note that in order to preserve the layout and aesthetics of the artwork, each page is presented in the original Japanese reading direction of right-to-left.

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Greetings, Genga’ (Dash) are elaborately created reproductions of original manga manuscripts, digitally captured and printed using multi-layered color adjustment printing, which are almost indistinguishable from the original, even alongside one another. This is an area I have studied and developed as one of my research activities at university in order to allow for the exhibition and preservation of original manga artwork, which is prone to fading. It began with the reproduction of my own artwork, but given that the ability to collect and preserve originals of pioneering artworks that are at risk of damage or untimely loss, holds great significance for a university that has a Faculty of Manga, we have come little by little to the current project. To spread the word of our research and its results and to further enhance the project, we have come to hold a series of original artwork preservation exhibitions that put our research results to practical use.

Naturally there is only one true copy of an original work. However, as Japanese manga attracts international attention, their material worth is being reviewed both domestically and abroad, and recently more and more voices have called out wishing to acquire originals and/or exhibit them abroad. Genga’ (Dash) can respond to those voices, as they reproduce the current state of the original artwork down to the color hues and rough drafting stages with such quality that they can even be called "a second original". Please enjoy the gorgeous World of Shōjo Manga through Genga’ (Dash), each recognized as exquisite reproductions by their respective artists.

Takemiya Keiko

Takemiya Keiko Born in Tokushima prefecture, Takemiya Keiko received an honorable mention in COM’ s monthly newcomer award in 1967, and then made her professional debut the following year with Ringo no Tsumi (Sin of the Apple) in the weekly manga magazine Margaret. In the fiscal year of 1979 she received the Shogakukan Manga Award for both her works Kaze to Ki no Uta (The Poem of Wind and Trees) and Terra e... (To Terra). Currently she is the Dean of the Faculty of Manga at Kyoto Seika University, where she works to train a new generation of talent.

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«READ THIS WAY 03

The Making of Genga’(Dash) The production team scan the original artwork, and then using image processing software carefully compare it to the original, gradually making corrections to bring the coloring and texture closer to the original. Then they make test prints and compare them against the original time and again while making minute image quality adjustments. They are reproduced full-scale to the original. There are various color-tone adjustment procedures and techniques according to whether the artwork is monochrome or color, but basically they are adjusted in the following order: 1) Color of the manuscript paper. 2) Color of skin and hair etc. 3) Other details.

In particular, making adjustments to the following parts of manga manuscripts takes considerable time.

•Color irregularities •Pencilled dialogue •Monochrome screentones •Pasted typesetting inside speech balloons It is not just about reproducing the original as a picture alone, but also the aim to conserve the original artwork while documenting the creation process, in which typesetting is pasted onto the manga manuscript after the dialogue is pencilled in. Because color properties are influenced by illumination, the color of the reproductions is checked under non-colored fluorescent lights. We also use matte paper to easily achieve the texture of the original.

Examples of parts which are particularly hard to reproduce

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Pencilled dialogue

Color irregularities

Pasted typesetting inside speech balloons

Monochrome screentones

The Genga (Dash) project was brought to life by Takemiya Keiko in this way through repeated trail and error. Professor Takemiya holds the strong belief that even when the receiver has no knowledge of colors, if the sender has persistence it becomes a persuasive power and is conveyed to the receiver. Therefore her research in collaboration with the Kyoto Seika University International Manga Research Center has not stopped at reproducing her own artwork, but is now striving to create Genga'(Dash) of artworks by important artists from throughout the history of manga.

Takemiya Keiko and the production team checking ďŹ ne color variations.

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How do they differ from other reproductions?

The aim of the Genga’ (Dash) project is the archival without alteration of the information that original pictures hold and it is this point which differentiates a Genga’ (Dash) from other reproductions. Other reproduction techniques clean up dirt and damage, and correct the color and luminosity of the original artwork but Genga’ (Dash) reproduce the current state of the work, even to the point of dirt, damage, irregularities in the brushwork and nuances in the blank paper. These marks left on the artwork allow us to catch a glimpse behind the scenes of the artists’ work and shows us the background of the times, and as such the documents can be though of as precious imprints in time.

The principles of Genga’(Dash) are that the data must be drawn from the original artwork, and fine color adjustments are made in direct comparison against the original.

When are Genga’(Dash) useful?

Recently manga is gaining attention both within Japan and abroad and the number of manga exhibitions is growing. It is not unusual these days for original artworks to be exhibited.

However there is always worry that the original manuscripts may suffer damage or loss. Manga manuscripts are delicate by nature and are not created for display, thus even short exhibitions can result in color fading. Accordingly, the Genga’(Dash) exhibitions act as an effective measure for preservation. Genga’ (Dash) are resistant to both light and water, allowing for exhibitions in venues and for time lengths that would otherwise be impossible. The artist may even rest assured that they can safely be lent overseas without fear of the originals becoming lost in transit.

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What is a Genga’(Dash)?

A Genga’ (Dash) is an elaborate reproduction of an original manga manuscript though the use of computerized fine color adjustment and printing. It reproduces subtle differences in line shades and color gradation with such precision that the reproduction is almost indistinguishable from the original even when they are beside one another.

The Genga’(Dash) research project leader is Takemiya Keiko, a professor in the department of manga at Kyoto Seika University and the author/artist of manga titles Kaze to Ki no Uta (The Poem of Wind and Trees) and Terra e... (To Terra), amongst others. The project has been developing in collaboration with the Kyoto Seika University International Manga Research Center in order to aid in the preservation and public exhibition of manga manuscripts which are delicate and easily fade.

Featured Artists

This project started in 2001, centering on artists from the shōjo (girls) manga genre, and as of August 2010 has encompassed 503 artworks from fourteen different artists. Japanese shōjo manga’s wide range of expressive techniques and color usage is being archived by Genga’(Dash). In the future, we plan to further our intake of shōjo manga artists, while also broadening the selection base to include a wider range of artists.

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Fuichin-san (Ms. Fuichin) 1957-1962

Ueda Toshiko

(1917-2008) Best-known work: Fuichin-san (Ms. Fuichin)

Ueda studied illustration and manga under Matsumoto Katsuji from the age of 17. In 1951 her manga Boku-chan (Lil’ me) gained attention when Shueisha published it in Shōjo Book, then Fuichin-san (Ms. Fuichin) was serialized in Shōjo Club from 1957, a very popular story about a Chinese girl living in former Manchuria (northeast region of China) featuring a cheerful and bright heroine. In 1960 Ueda received the Shogakukan Manga Award. In addition to being a pioneer of humorous manga for girls, she was an early female manga artist comparable to the likes of Hasegawa Machiko and had great influence on subsequent generations. In 2003 she was awarded the MEXT (Ministry of Education, Culture, Sports, Science and Technology) category of the Japan Cartoonists Association Award.

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Kuru Kuru Kurumi-chan 1953

Matsumoto Katsuji

(1904-1986) Best-known work: Kuru Kuru Kurumi-chan

Matsumoto debuted at the beginning of the Showa era (late 1920s) as an illustrator for shĹ?jo (girls) magazines and gained attention through his enchanting foreign-style artwork. His manga Kuru Kuru Kurumi-chan, a forerunner in shĹ?jo manga of the time, began in 1938 and was serialized for 35 years. Kurumi-chan became established as a well-loved character. One by one, goods appeared and she became the origin of Japanese character goods. From around 1955 his work focused mainly on picture books and items for babies. His baby tableware range which sold through the infant merchandise company Combi was a particularly bit hit.

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Chako-chan no Nikki (Chako’ s Diary) 1959–1966

Imamura Yoko

(1935–) Best-known work: Chako-chan no Nikki (Chako’s Diary)

Imamura’s father, Imamura Tsutomu, and her younger brother, Imamura Yutaka, are also manga artists.

She debuted in 1952 with Kobuta no Rappa (Piglet’s Trumpet), a rental manga that she released under her father’s name. Subsequently, she began serializing Kurasu Otenba Nikki (Diary of Tomboyish Schoolgirls) and Chako-chan no Nikki (Chako’s Diary) in Kobunsha’s Shōjo Magazine. A series that became popular due to its vivid depiction of the daily lives of schoolgirls with humor and occasional sentimentality. She also produced manga for school children’s manga magazines including Okkii Pokke no Oneesan (Girl with a Big Pocket), a dream-filled story whose heroine has the power of a magical pocket – anticipant of Fujiko F. Fujio’s Doraemon. In 1965 her manga Hassuru Yū-chan (Lively Yu) won the Kodansha Children’s Manga Award.

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Seinto Rosarindo (Saint Rosalind) 1973

Watanabe Masako

(1929–) Best-known work: Garasu no Shiro (Glass Castle)

After working as an illustrator, Watanabe’s first manga, Shōkōshi (Little Lord Fauntleroy), was published by Nakamura Shoten in 1952. Subsequently she created many akahon (pulp fiction, literally “red book”) and kashihon (rental book) manga. Her work Yamabiko Shōjo (Echo Girl) was serialized in Shōjo Book by Shueisha from 1957. Then in 1971 she received the Shogakukan Manga Award for Garasu no Shiro (Glass Castle), serialized in Weekly Margaret. She won popularity through her dramatic stories that depicted girls beset by misfortune drawn amidst gorgeous scenery. Watanabe later came out with the horror story Seinto Rosarindo (Saint Rosalind) and set a precedent for ladies’ comics as she continued to address the changing expectations of readers in accordance with the times. In 2002 she was awarded the MEXT category of the Japan Cartoonists Association Award.

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Yōki na Tenkōsei (Cheerful Cheerful Transfer Student) Student 1969

Tomoe Satō

(1932–) Best-known work: 5-nen Hibari-gumi (5th-year Classmates)

Tomoe started drawing rental manga from the mid-1950s. At first publishing under the pen name Isojima Shigeji with the Osaka publishing house Hinomaru Bunko. He changed his pen name to Tomoe Satō in 1956 upon moving to Tokyo and began to publish the Gokigen Shiriizu (Good Mood Series) through Wakagi Shobo.

His work gained in popularity and he developed an original style, depicting bright school life stories. From the mid-1960s he began drawing for girls’ manga magazines and after publishing Sayonara Sankaku (Goodbye Triangle) in Ribon in 1965, he began to focus his activities on magazines. Since then he has continued to play the role of star artist for Ribon, creating school life hits such as 5-nen Hibari-gumi (5th-year Classmates), while at the same time, producing many poignant war stories.

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Sekai no Shōjo/Sōshun no Pari no Shōjo (Girl of the World/Girl of Early Spring) 1971

Takahashi Macoto

(1934–) Best-known work: Puchi Ra (Petite La)

In the mid-1950s Takahashi began drawing akahon and kashihon manga, then in 1957 he made his magazine debut with a manga about ballet dancers, Arashi o Koete (Overcoming a Storm). His unique style, depicting shining stars in the pupils of girls’ eyes, and what is referred to as sutairu-ga, full-body portraits of a girl vertically spanning an entire page length, significantly influenced subsequent artists of shōjo manga. After creating hits like Puchi Ra (Petite La; story written by Hashida Sugako), Takahashi focused on his career as an illustrator. His illustrations have appeared on magazine covers, girls’ stationery and many other media. He is recognized as a representative artist of girls’ culture and has a great many fans spanning generations.

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Gin no Kagerō (Silver Mirage) 1968-1969

Maki Miyako

(1935–) Best-known work: Maki no Kuchibuye (Maki’s Whistle)

Maki Miyako debuted with the rental book Haha Koi Warutsu (Mother’s Love Waltz) in 1957. Her masterpiece shōjo manga are Shōjo Sannin (Three Girls) published in 1958, Maki no Kuchibuye (Maki’s Whistle) in 1960, Ribon no Warutsu (Ribbon’s Waltz) in 1963 and Gin no Kagerō (Silver Mirage) in 1968. She drew a world which was longed for by the poverty stricken postwar girls. In 1967 the toy maker Takara released the dress-up doll Licca-chan modeled on Maki’s drawings. Around the end of the 1960s she also began to publish manga for adults that contributed greatly to the spread of present day "Ladies Comics".

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Hanii hanii no suteki na boken (The Fantastic Adventure of Honey Honey) 1966-1967

Mizuno Hideko

(1939–) Best-known work: Fire

While in junior high school, Mizuno Hideko contributed to Manga Shonen magazine, published by Gakudosha and caught the attention of Tezuka Osamu, then began to contribute to Kodansha’s Shōjo Club. She was the only female artist in the manga artists’ collective Tokiwa-so Group and collaborated with Ishimori (Ishinomori) Shotaro and Akatsuka Fujio under the pen name U. Maia. Strongly influenced by the works of Tezuka Osamu, she took up serious shōjo manga about history and mythology. Mizuno produced fantasy romances and comedies such as Hoshi no tategoto (Harp of the Stars) and Hanii hanii no suteki na boken (The Fantastic Adventure of Honey Honey). In 1969 she received the Shogakukan Manga Award for Fire, which depicts the pains of a young rock musician.

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Nairu no Ōkan (Crown of the Nile) 1963-1964

Kitajima Yoko

(1943–) Best-known work: Nairu no Ōkan (Crown of the Nile)

Kitajima Yoko debuted during her last year of senior high in 1961 with Kōri no Shiro (Ice Castle) published in Shōjo Club. After graduating from high school she worked as Mizuno Hideko’s assistant, while contributing her own works to Weekly Shōjo Friend and other magazines. Her manga Nairu no Ōkan (Crown of the Nile; story written by Miyazaki Tsutomu) was the first shōjo manga romance set in ancient Egypt and inspired subsequent artists’ works such as Farao no Haka (Pharaoh’s Tomb) and Ōke no Monshō (Royal Crest). She was a star artist for Ribon Magazine from the latter half of the 60s. Her story Sweet Lala became extremely popular and in addition to the story, fascinated many girl readers because of its characters’ clothing fashions.

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Sugisarishi hi no... (Days Gone By...) 1975

Asuna Hiroshi

(1941–2001) Best-known work: Hashire! Boro (Run! Boro)

After working for an advertising design firm, Asuna Hiroshi debuted in 1961 with the manga Maboroshi no Kishu (Phantom Rider) serialized in Kodansha’s Shōjo Club. His delicately painted images, so finely detailed that the printing technology of the time could not do them justice, strongly influenced subsequent shōjo manga artists. His work appeared in young men’s magazines in the mid-60s and boys’ magazines in the 70s. He received the Shogakukan Manga Award in 1972 for Tōchan no Kawaii Oyome-san (My Father’s Lovely Wife), serialized in Shueisha’s Weekly Shonen Jump, and Hashire! Boro (Run! Boro), which was carried in Shogakukan’s magazine Jogakusei no Tomo. Although he passed away in 2001, his friends continue to publish his works at their own expense and his works are being re-evaluated.

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Kaze to Ki no Uta - Aoi Yūgure (The Poem of Wind and Trees - Bule Twilight) 1976- 1984

Takemiya Keiko

(1950–) Best-known work: Kaze to Ki no Uta (The Poem of Wind and Trees)

After gaining attention by contributing to Tezuka Osamu’s magazine COM, Takemiya made her professional debut with Ringo no Tsumi (Sin of the Apple), published in a special edition of Weekly Margaret. Many new artists of the same generation debuted at that time including Hagio Moto, Oshima Yumiko and Yamagishi Ryoko. Recognized as flag bearers of a new era, they were collectively known as the Year 24 Flower Group, as many of them were born in the 24th year of Showa (1949). Building on conventional shōjo manga techniques, they expanded its boundaries by introducing characteristically shōnen (boys’) manga themes of sci-fi and action. Takemiya’s 1976 manga Kaze to Ki no Uta (The Poem of Wind and Trees) established male homosexual love as a shōjo manga motif, and her 1977 manga Terra e… (To Terra) featured a fresh sci-fi theme. Takemiya received the 1979 Shogakukan Manga Award in recognition of these two works.

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Honō no romance (Flaring Love) 1975-1977

Uehara Kimiko

(1946–) Best-known work: Honō no romance (Flaring Love)

Uehara published the rental manga Kuro Kosumosu no Hana Kotoba (Black Cosmos Floral Language) under the pen name Kaneda Kimiko in 1965, then professionally debuted in 1968 in Ribon. She focused her activities within girls’ manga magazines such as Weekly Shōjo Comic. Uehara produced hits such as Rorii no seishun (Young Days of Rolly), the story of a poor girl who becomes happy through horse riding; and Honō no romance (Flaring Love), about an ordinary girl who knows a secret about her classmate and becomes involved in a conflict for the crown in a distant country. From the latter half of the 1970s she produced work for school-children’s magazines. Her manga Mari-chan Series serialized in Shogaku Ichinensei received the Shogakukan Manga Award.

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Fenera 1977

Kai Yukiko

(1954–1980) Best-known work: Fenera

Kai moved to Tokyo at the age of 19 and began her career whilst working as an assistant. She debuted with Anasutashia no Suteki na Otonari (Anastasia’s Wonderful Neighbor) in Viva Princess, followed by short works in the same and other magazines, such as the manga Shiki Shiriizu (Four Seasons Series) and Fenera. From science-fiction, fantasy and foreign romances to works themed around Noh plays, her diverse literary style produced high hopes early on in her career, however she passed away at the young age of 26 due to stomach cancer. Kai’s five year career was a short one, but her imaginative outlook on the world and beautiful pictures linger in the hearts of her readers even today. Her younger sister is the manga artist Hatsu Akiko.

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Yume Miru Wakusei (Dreaming Planet) 1980–1984

Sato Shio

(1952–2010) Best-known work: Yume Miru Wakusei (Dreaming Planet)

Sato worked as an assistant for Takemiya Keiko and Hagio Moto, then made her own debut in 1977 with Koi wa Ajinamono!? (Love is a Wonderful Thing!?), published in a supplementary volume of Shōjo Comic. Alongside Sakata Yasuko, Mizuki Waka, Kai Yukiko and others, Sato belongs to a group of artists called the Post 24 Group who were greatly influenced by the literary styles of the Year 24 Flower Group. She produced many grand scale and serious sci-fi in deep hues. Yume Miru Wakusei (Dreaming Planet), published in Puchi Flower, depicts power struggles within a kingdom which has fallen under natural disaster. One Zero, which depicts the state of mind during Buddhist meditation and other themes, is an example of how she skillfully weaves vast knowledge into the background of her manga, fascinating her fans with profound stories.

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Past Exhibitions

Since 2002, there have been yearly exhibitions held that also serve to launch newly produced Genga’(Dash), beginning with those held in Kinokuniya Art Gallery in Shinjuku. Additionally, they are widely exhibited not just through exhibitions sponsored by the Kyoto International Manga Museum, but we also receive Genga’(Dash) exhibition requests from third parties such as foreign exhibitions, other art galleries and department store exhibition spaces.

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Special Exhibition “The World of Shojo Manga – Genga'(Dash) Kyoto Exhibition” Fri, 23rd Nov 2007 – Mon, 14th Jan 2008 Kyoto International Manga Museum

Examples of external exhibitions which have incorporated Genga’(Dash)

Takemiya Keiko’s Genga’(Dash) Exhibition Sat, 9th Sept – Mon, 26th Nov 2006 Saitama City Manga Hall

Showa Manga Exhibition Thurs, 3rd – Tues, 8th April 2008 Kintetsu Department Store, Ikoma 4th floor exhibition hall.

Exhibited artists: Imamura Yoko, Kitajima Yoko, Takahashi Macoto, Tomoe Sato, Mizuno Hideko An exhibition of Genga’(Dash) of Showa era shojo manga works held to mark the reopening and renewal of the Ikoma branch of Kintetsu Department Store.

The World of Takemiya Keiko Exhibition (Supported by the museum) Sat, 7th Jan – Fri, 3rd Mar Location: Tokushima Prefectural Museum of Literature and Calligraphy

“Shojo Manga! Girl Power! – What can shojo manga tell you?”

(Incorporating loaned Genga'(Dash)) Oct 2005 – Nov 2007 A travelling exhibition which toured North America starting in Chico, California and was then re-exhibited in four museums throughout Japan in 2008 as “Shojo Manga Power! Strong, Kind, Beautiful” .

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PAST EXHIBITIONS Kinokuniya Art Gallery (Kinokuniya Shinjuku Store 4th Floor) launch exhibitions 2003

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2009

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2003

Takemiya Keiko Genga'(Dash) Exhibition Dates: Fri, 22nd Aug – Mon, 1st Sept Exhibited artist: Takemiya Keiko Attendees: 1244 visitors in total

2004

Genga'(Dash) Exhibition – The World of Shojo Manga Part II Dates: Thurs, 26th Aug – Mon, 6th Sept Exhibited artists: Ueda Toshiko, Uehara Kimiko, Takemiya Keiko Attendees: 964 visitors in total

2005

Genga'(Dash) Exhibition – The World of Shojo Manga Part III Dates: Sat, 20th Aug – Mon, 29th Aug Exhibited artists: Mizuno Hideko, Sato Shio, Takemiya Keiko Attendees: 813 visitors in total

2006

Genga'(Dash) Exhibition – The World of Shojo Manga Part IV Dates: Sat, 26th Aug – Mon, 4th Sept Exhibited artists: Asuna Hiroshi, Takahashi Macoto, Takemiya Keiko Attendees: 1008 visitors in total

2007

Genga'(Dash) Exhibition – The World of Shojo Manga Part V Dates: Sat, 8th Sept – Mon, 17th Sept Exhibited artists: Watanabe Masako, Imamura Yoko, Tomoe Sato, Kitajima Yoko, Takemiya Keiko Attendees: 706 visitors in total

2008

Genga'(Dash) Exhibition Series – Takemiya Keiko’s Fantasy Revival Kamishibai “One Thousand and One Nights” Dates: Sat, 23rd Aug – Mon, 1st Sept Exhibited artists: Takemiya Keiko Attendees: 560 visitors in total 2nd location: Thurs, 23rd Oct – Mon, 9th Nov in the Kyoto International Manga Museum

2009

Genga'(Dash) Exhibition Series – The Lovely and Splendid World of Matsumoto Katsuji and Maki Miyako Dates: Sat, 22nd Aug – Mon, 31st Aug Exhibited artists: Matsumoto Katsuji, Maki Miyako, Takemiya Keiko Attendees: 944 visitors in total 2nd location: Sat, 12th Sept – Sun, 18th Oct in the Kyoto International Manga Museum

2010

Genga'(Dash) Exhibition Series – Watanabe Masako and Kai Yukiko “Fantastic Journey” Dates: Sat, 21st Aug – Mon, 30th Aug Exhibited artists: Watanabe Masako, Kai Yukiko, Takemiya Keiko 2nd location: Sun, 27th Feb – Thurs, 31st Mar 2011 in the Kyoto International Manga Museum

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Sales Genga (Dash) are on occasion, sold to fans with an emotional attachment to the artwork who wish to get their hands on a near-original. Sales are possible for artworks in which permission is authorized by the artist or copyright holder. A single framed work sells for 100,000 yen.

Lending They are also lent out for a fee to art galleries, museums and commercial enterprises wishing to hold exhibitions of Genga (Dash). Additionally to merely lending the Genga (Dash), we can also oer an exhibition planning package. Enquiries of further details should be made to the Kyoto International Manga Museum.

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Sales and Lending

Genga (Dash) May, 2011 Supervising editor: Takemiya, Keiko Publishing house: Kyoto Seika University, International Manga Research Center.

Collaboration: Tranquilizer Project Ltd. Editorial writing: Kuramochi, Kayoko (Kyoto International Manga Museum Researcher) Translator: Cathy, Sell Editorial assistant: Toda, Kota Printing and binding: Sagawa Printing Co., Ltd.

Contact details: Kyoto Seika University, International Manga Research Center.

Karasuma-Oike-Agaru, Nakagyo-ku, Kyoto, Japan TEL: +81 (0)75-254-7427 FAX: +81 (0)75-254-7437