我要中文~翻译后有50积分~She is famous for her realistic josei work featuring understated artwork with a sense of detachment. In addition she has affiliated herself with the "La nouvelle manga" movement. Her first work was published in Garo

我要中文~翻译后有50积分~She is famous for her realistic josei work featuring understated artwork with a sense of detachment. In addition she has affiliated herself with the "La nouvelle manga" movement. Her first work was published in Garo
我要中文~翻译后有50积分~
She is famous for her realistic josei work featuring understated artwork with a sense of detachment. In addition she has affiliated herself with the "La nouvelle manga" movement. Her first work was published in Garo in 1993. Two of her works have been made into live-action movies: Blue and Strawberry Shortcakes. At the Angoulême International Comics Festival 2008, she won the Prix de l'école supérieure de l'image.
Kiriko Nanana says she is obsessed with seeing everything in-between the lines. She uses the spaces in the panels/the backgrounds, as characters to suggest feelings such as hope or emptiness. It is for this reason that, unlike most Mangaka, she will not have assistants do the details for her, since the little details play an important role in her stories. She draws each panel so that it can be isolated, like a picture on a poster or T-shirt, rather than drawing/thinking of her manga as a series of boxes. When she draws each panel, she says she sometimes will take even four hours on just one, repeating the same picture dozens of times.[2]
Nananan says her stories and characters are only partially fictional, and believe they are all true-to-life. She bases the way the characters think on how she thinks, then links everything together with fictional events. She feels she can't have writing assistants either since she is the only one who can tell her stories.

我要中文~翻译后有50积分~She is famous for her realistic josei work featuring understated artwork with a sense of detachment. In addition she has affiliated herself with the "La nouvelle manga" movement. Her first work was published in Garo
她对她的工作具有现实的josei著名低调有恍若隔世的感觉的作品.此外,她所属的“法国新漫画”运动的自己.她的第一部作品发表在加罗于1993年.她的作品有两个被拍成真人电影：蓝色和草莓酥.在昂古莱姆国际漫画节2008年,她赢得了法国高等大奖赛德高等德欧莱雅欧莱雅的形象.
桐子Nanana说,她是看到一切都在痴迷之间的线路.她以小组/背景的空间,为字符建议,如希望或空虚的感觉.正是由于这一原因,不像一般漫画家,她不会有助手为她做的细节,因为这个小细节她的故事中发挥重要作用.她提请各小组,以便它可以被分离,就像海报上或T恤图片,而不是图画/她的漫画思想为盒子系列.当她提请各小组,她说她有时会在四个小时甚至只有一个,重复同样的图片的时候几十个.[2]
Nananan说,她的故事和人物都是虚构的只是部分,并相信他们都是真正贴近生活的.基地的方式,她的人物,她认为如何思考,然后虚构的事件联系起来不得了.她觉得她不能有任何书面的助手,因为她是唯一一个谁可以告诉她的故事.

她是著名的现实的日本工作具有低估了艺术品的感觉的剥离。此外,她有附属的“拉自己nouvelle漫画”运动。她的第一个工作是1993年发表在Garo。她的两个工程已做成真人电影:蓝色和草莓Shortcakes。在2008年将该港名为安古拉姆国际漫画展内,她赢得了赛个人赛'ecole学院德l 'image信用证。

Kiriko Nanana说,她很迷恋看到各个领域的台词。她用...

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她是著名的现实的日本工作具有低估了艺术品的感觉的剥离。此外,她有附属的“拉自己nouvelle漫画”运动。她的第一个工作是1993年发表在Garo。她的两个工程已做成真人电影:蓝色和草莓Shortcakes。在2008年将该港名为安古拉姆国际漫画展内,她赢得了赛个人赛'ecole学院德l 'image信用证。

Kiriko Nanana说,她很迷恋看到各个领域的台词。她用空间板/背景,作为特征建议感觉,例如希望或空虚。正是因为这一原因,,不象大多数Mangaka,她不会有助手做完细节为她,因为一个小的细节中发挥着重要的作用故事。你可以从每一个面板,这样它就可以被分离出来,象一幅海报或t恤上,而不是绘画考虑到她的漫画也是一系列的盒子。当她吸引每一个面板,她说她有时会占一个即使四小时,仅仅在重复同样的图片了几十倍。[2]

Nananan说她的故事和人物仅部分虚构的,并且相信他们都是三。她基地人物的想起她觉得,然后链接都在一起以种种虚构的事件。她觉得她不可能写助理或因为她是唯一能告诉她的故事。

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