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Kaidou and Big Mom of the Four Emperors Face Defeat!
As the unprecedented news that Luffy would destroy the two emperors who had reigned over the seas for decades spread around the world, the bounty on Luffy's head rose to an extraordinary three billion belly.
This brings us to Chapter 1053. Newly named the “Four (4) Emperors,” Luffy and three other pirates are depicted in vivid colors.
From left to right, we see Buggy the Star Clown, Red-Haired Shanks, Marshall D. Teach (“Blackbeard”), and Straw Hat Luffy.
This stately illustration depicts new emperors who have heralded an era of change.
*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 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 500 million copies as of August 2022.
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.
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’s 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.
