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Luffy, Robin, and Usopp are dressed in kimonos. Behind them, a giant pink dragon opens its mouth wide.
With a suit of armor with one shoulder exposed, Luffy holds a Japanese sword in each hand, baring his teeth and glaring ahead. Behind his right shoulder, you can get a glimpse of the flag of the Straw Hat Pirates emblazoned on the face guards of his helmet. While his right hand is bare, he wears a black glove on his left hand. He's wearing Japanese armor, but his glove features a Western design. This seems intentional, as Usopp is wearing a Japanese gauntlet on his left hand. In the West, it's said that people threw the glove of their left hand at someone to challenge them to a duel. Perhaps this illustration is making a reference to this practice.
The wind blows Robin's black hair to the right as she alone gazes in another direction. The movement of the blue flames in the background seems to imply that the wind is blowing gently. Autumn leaves flutter upwards from the sash of Robin's kimono, and at the hem, a stalk of silver grass sways in the wind next to a flowing river. It appears as if a blue cloak has just been gently blown off of her shoulders, but the cloak blends in with the floor and looks like part of a wave surging forward in the sea.
Usopp is wearing a bright orange kimono with a pine tree pattern. He has a traditional umbrella in his right hand. He is pulling on the hilt of his Japanese sword with his left, ready to draw and toss out his umbrella at any time. The handle of the umbrella Usopp holds, the sword that fits into the handle, and the sword Luffy holds in his right hand form an equilateral triangle.
If you consider the layout of the illustration, you might also notice that the three swords are crossed and arranged in a radial pattern from the center. The lower jaw of the dragon's mouth, Luffy's straightened right arm, the large sleeve on his right shoulder, and the black belt around his waist are all part of this radial pattern.
Above the One Piece logo on the bottom right is a print that reads, Shibaraku. Shibaraku ("Wait a minute!") is the name of a famous Kabuki play. In the story, Kiyohara no Takehira orders his retainers to kill those who disobey him. That's when Kamakura Gongoro Kagemasa appears and utters, "shibaraku," and rescues the people. This reference forms a connection between one of the top eighteen kabuki plays in Japan and the world of One Piece.
*The work is made up of a set of 2prints
*Signature on prints (seal)
In 1992, Oda received the Weekly Shonen Jump Tezuka Award for* Wanted!* Serialization of ONE PIECE began five years later in 1997. In the same year, the first tankobon (individual) volume of the series was released. In 1999, the title was made into an animated series. The first ONE PIECE exhibition was held in 2012.
In 1992, Oda received the 2nd place prize in the 44th Tezuka Award for Wanted! (under the pseudonym "Tsuki Himizu Kikondo"). In 1993, Oda was selected for the 104th Hop Step Award for Ikki Yako. In 2006, ONE PIECE was chosen in the Japanese Media Arts Festival 100 Manga Selection. In 2012, Oda received first prize in the 41st Japan Cartoonists Association Award for ONE PIECE. In 2018, Oda received the Kumamoto Prefecture Honorary Award.
The magazine carrying the series was Weekly Shonen Jump, The year the series started was 1997. A heroic pirate adventure story revolving around a treasure known as "One Piece." In this adventure, Monkey D. Luffy sets out to become the King of the Pirates. The work was made into an animated television series in 1999. On June 15, 2015, One Piece attained the Guinness World Record for most copies published for the same comic book series by a single author. The total worldwide circulation exceeds 600 million copies as of March 2026.
アーカイヴァル インクジェット プリント
Shueisha Manga-Art Heritage has entered into a business partnership with Epson, entrusting them with color management support and printing. The pigment inks used in the company’s inkjet printers are lightfast, preserving the original colors even under lighting that would cause the dye-based color inks used in the original artwork to fade.
Inkjet printing is a printing technology in which minute ink particles are ejected directly onto media such as paper and fixed in place. There are two main methods of carrying out this process: the thermal method and the piezo method. In the thermal method, ink is heated to create bubbles, which are then used to eject the ink. In the piezo method, ink is ejected by the force of a piezoelectric element, a material that deforms when a voltage is applied. Epson has adopted and further developed the piezoelectric method, establishing it as its proprietary Micro Piezo technology.
One of the advantages of the piezo method is its greater compatibility with a wide range of ink compositions. Since the ink is not heated, the method can accommodate components that are resistant to boiling, including oil-based pigments. For this reason, Epson has sought to develop prints that are more lightfast and weather-resistant. In particular, prints made with pigment inks are excellent for preservation.
*Please note that we cannot guarantee light resistance under strong ultraviolet rays or durability in environments with high temperature and humidity. We recommend using an acrylic frame with UV protection for display purposes.
On the other hand, original manga artwork is highly prone to fading, especially when it comes to color illustrations created using dye-based markers. Illustrations created for the covers of manga magazines, frontispieces, and comic book covers were not originally intended to be displayed or appreciated as works of art. They were designed to be printed and viewed by readers in magazines and comic books. Illustrations were often colored over copied line art, and in some cases, the characters and backgrounds were cut out and pasted in separately. To transform such illustrations into manga-art, they need to be retouched, such as by correcting discolored areas.
Since 2008, Shueisha has been working to digitally archive manga. Initially, we captured color originals using the EverSmart Supreme II, a high-precision scanner, and in 2015, we began using the Phase One IQ180, a high-resolution digital camera. Since 2020, we have been using Phase One iXH, Cultural Heritage series. This has allowed us to capture and preserve colors beyond the reproducible range of commercial printing, while also retaining the texture of the paper on which the illustrations were created.
Using this digitally archived data and imaging equipment, we retouch the artwork, restoring the original colors as they were when the illustrations were created. To produce the final print, color is carefully managed at each stage, from the original artwork to the captured data and printing.
For illustrations that were created digitally, we perform color management and printing in the wider-gamut Adobe RGB color space, instead of the sRGB space typically used in commercial printing, resulting in deeper and more vibrant colors.
