FROM SCRIPT TO FINAL PAGE

Pro skills on taking a panel to completion

One of the main differences between visual storytelling and illustration is the sequence of images. Some of these images are less about beauty and more about function in the story. Often it’s a juggle to decide whether or not an image is more important as a storytelling moment to build character, build tension, or show a sequence of small events; or as a big scene which draws the eye and creates a sense of excitement.

Functional panels tend to be smaller, maintain the story flow and can serve to establish the setting or new characters. They can also show a momentary action alone or in sequence. Splash panels tend to be bigger and show an exciting action or a dramatic scene that encourages the reader to stop the flow of the story and just admire the image.

In this workshop I’ll take you through the process of building a page from script to a final page of one of my comics. I’ll talk about the decisions I make regarding design, drawing and panels when handed a script. I frequently start in natural media (pencil, pen and ink), which I’ll scan in to ink or colour digitally using Clip Studio Paint on my ipad Pro. I think better in natural media, but finish cleaner and faster digitally.

Analyse the script 1

I take the script, which can be as detailed as a panel-bypanel description or as loose as a scene-by-scene outline, and so a lot of rough sketches usually end up on the actual script. I find it helps me to work out the ideas with the text right there and I don’t have to commit too early to any one idea. When co-authoring, I break the story down into scenes first.

Planning out the book

I take the script and lay out a whole scene into pages. I like to keep a scene between one and five pages. This way the story doesn’t drag on too long. I lay out each page as a complete idea that has a beginning and an end that leads into the next page. I always try to end a page and a scene with a question.

Breaking down into panels

A panel should be a moment in time. Panels should propel the story forward, be lovely, and lead the eye directly to the next panel, all in service of the greater idea of the page. I balance panels that are small and describe a tiny moment or sequence with others that open up and describe a whole scene or action.

Each panel is like a sentence in the paragraph of the page, so I rough out how many panels and what the action in each panel is. The characters fly in on their bikes, dismount, check a device on one of the character’s arms, run into a cave and find a robot. I need a layout with five panels and choose the last one for a big reveal.

Choosing the dramatic panel 4

I sketch out a few different angles and shots before deciding on the best one for a sequence. Like a film’s director of cinematography, I place the eye (camera) where the image can have the most impact, describe the action I need to convey, and continue the flow of the story from panel to panel without slowing the reader down.

Spatial relationships

When dealing with either a fight scene or two or more characters interacting in a scene, it helps knowing where everything is. I sketch a bird’s-eye view of the scene so I can see where everything relates in the space. This helps me make sure that objects stay in the same relation from panel to panel, which makes the scene easier to read.

Maintaining flow in the page layout

The traditional comic is usually read in a Zformation, like reading a book. I keep this in mind in my layout, but in the interest of creating something visually interesting I try to mix it up. It’s important to keep that flow in mind, even when you move the panels around.

Designing the characters

I need to have designs for each character in the story. Just like in animation, I need to make sure that if the character has a backpack, a glove or an eye patch, these items are all in the right place and are visible depending on the angle. I like to draw character turnarounds and expression sheets to maintain accuracy.

Scan those layouts

Once I have the entire scene laid out, I scan my layouts, crop, resize and then put them in a template. I have unique templates for projects because each publisher has different requirements. I make sure the important art is within the live area, and the trim and bleed area are empty unless I’m doing a full bleed.

Blue-lining the pages

Next, I drop a blue line filter over the page. It’s a little handy filter that I use which changes all the pencil lines to a soft blue. It’s not non-repro, so I’ll delete it using colour adjustments after I scan in the line-work. I’ll print this out on Bristol board, and pencil and ink directly on to the surface.

Pencilling the panels 10

Since I ink my own work I don’t go crazy with super-tight pencilling. I refine the drawings, choosing the best lines and line weights, develop the character personalities, and put in perspective and detail. The pencils act as a roadmap for the placement of black areas, textures and line weights. Since I’m inking digitally, I scan the art at 600 dpi and open the file in Clip Studio Paint.

Inking rather than tracing 11

I create a second layer over my pencils and call it Inklines. I then redraw the lines using a single lineweight pen. This will give me the option later on in the process of either adding thinner or thicker lines after the black areas are filled in. Next, I use the Paintbucket tool in the black areas. Then I go back in with thicker lines for depth and adding texture with my G Pen nib.

Adding colour flats 12

Once the inks are done, I select the Inklines layer and change its mode to Multiply. By selecting the icon in the Layers palette that looks like a lighthouse, I make Inklines a reference layer. In Tool Properties I set the Paint Bucket to Multiple referring and Reference layer (the lighthouse icon.) I can now fill in colours on a lower layer that I call Flats, which follows the shapes of the black lines above without affecting the ink lines.

Rendering layers 13

I add a Colours layer above the Flats layer and below the Inklines one. Next, I select areas of flat colour and render in the Colour layer using soft-edged and textured brushes to create depth. Once I’ve established all the darker shades, I create highlights on a separate layer above the Colours layer so they remain editable.

Making the final touches to the page 14

Lastly, I create a Screen layer above all the layers and fill it in black with the Paint Bucket. I select areas for special effects and airbrush brighter colours over those areas. The screen layer causes the lines below it to be “knocked out”( meaning the black lines become lighten) and the colour creates a glowing effect. And I’m done. Now it’s time to send this page to the designer…