Page process Step - by- step

Those who have been following my process blog for a while will no doubt be aware of the challenges in getting a smooth running workflow when making comics.

So I thought I would show you my current process. Like most things it is ever changing but this is basically how each page is done these days.

Thumbnails/layouts

I usually use Manga Studio to do my layouts, mostly because I tend to generate lots of little pieces of paper otherwise. In Manga Studio I can just add a new layer over the top and keep refining without wasting so much paper.

Pencilling

I usually start out with a blue pencil (after ruling the page) to flesh out the layouts from the computer screen.

Once I have most of the main information in place I then bust out the Bic-Matic pencil (which I still call a 'Pacer' even though they are made by a different brand). 

I use the ones with the 0.7 mm leads as the 0.5 pacers seem to etch the page too much and make it hard to rub out.

I like to get the lead to a blunter point and rough out the pencils from there. One again this makes it easier when erasing (which happens A LOT).

The end result is usually something like this:

As you can see above, there was going to be another character in the background, but it just wasn't working in the composition and their presence did not help or hinder the story, so like a good Alex Toth disciple, I cut it.

Because I ink myself, I can allow for a little more sloppiness at this stage. However, at present I am endeavouring to have as much of the page done in the pencils as possible to improve the overall composition of the page.

By this time the key elements of the panel/page are locked in and it may only be how I will treat the backgrounds that are still up in the air at this stage.

Inking

My personal favourite part of the whole thing, the most fun too (for me anyway).

In the first issue of 'A Brigand's Tale' I inked the whole thing with a brush.
(If you missed reading it somehow you can pick up a copy here: http://boltcomics.bigcartel.com/product/a-brigand-s-tale) 
The inking workhorse was a no.2 'Rigger' brush. From what I can gather they are relatively cheap ($6 or so and seem to last a good while, I am still using the same brush from ABT #1! Compared to using markers this is a very cost effective option...) but also give a nice amount of line variation. 
I use Japanese Sumi ink that costs around $10 per bottle. I'm still on my first ever bottle. I was using a much thicker ink but it kept clogging everything up and I couldn't get fine lines with it so if in doubt use a more flowing (but waterproof) ink when ever you can.
With ABT#2 I am using HUNT 102 dip pen nibs for the details just to be on the safe side..
For me the best part of inking with a brush is that the ink dries almost instantly, whereas using the dip pens there is still a drying off period where I inevitably smudge the ink somewhere!

Using a brush takes practice but the learning curve is short and you can make a variety of lines with the one tool depending on how much pressure you apply to the brush.

Some tips on brush inking:

* Do thicker lines first once you have freshly dipped the ink and work on smaller lines when the brush isn't as 'full'. This just makes common sense. You can also do a few strokes of spot blacking after a fresh dip to work off some excess ink on the brush to get some nice lines.

* Create a 'tip' after dipping in ink. Just turn the brush so the hairs form a tip at the end. I usually do this in an area of the page that will be a large black area so I don't need to have a separate sheet of paper to 'work the tip' as I ink sitting on the lounge with a lapboard.

* To maximise the variety of lines you want hold the brush directly over the page at a 90 degree angle which will give you better control of the line.

* Try as much as possible to just lightly touch the page as then you can better control the thickness

* Use good quality paper/bristol. If you are using standard cartridge paper the ink will bleed and the line work will not be as crisp. I used A3 Canson 220 GSM paper for this page.The smoother the paper the better (for me). Secondly as I intend to sell my original art work it only seems right to use nice thick Archival quality paper for a purchaser of my original works. It's also just much nicer to work with and can take a lot more rubbing out than thinner papers.

Please note I am by no means an expert but I am so addicted to brush inking its quite a drag to use any thing else and the above are points I keep in mind when inking.

Erasing  

I generally erase a bit at a time, like when a whole figure is complete, or a panel, or a big enough section. I need to seen the finished product to see whether I need to chuck on more black, thicken things up, add rendering (sparingly or not all is a good rule).

Lettering

My hand lettering is pretty bad, and I normally wait to do it on the computer, but I just wanted to have a go and have some fun so I added it in.

Panel Borders

I ink these at the end as it makes me feel  like it's the final step.

Then I do one more more huge erase and get rid of every trace of lead pencil on the page.

And voila it's done...

Scanning

I then scan it in on my A3 scanner. And that's all I'll say about scanning because that's a whole 'nother problem to deal with...


Thanks folks, feel free to comment below, or tweet me twitter.com/TheDanTribe  or email info@boltcomics.net about what else you may want to know anything about Comic process or A Brigand's Tale related stuff on the blog.

Til next week, find a way or find an excuse, but #makecomics!

All Artwork Trademark and copyright Dan Tribe 2014. All rights reserved.