Here’s an example of a rough Seconds page vs a finished page. I drew the whole book in rough form, using a Cintiq tablet and Photoshop, and edited the story along the way. The final version was later inked by myself and Jason Fischer, colored by Nathan Fairbairn and lettered by Dustin Harbin. For those wondering, it was “penciled” digitally but later PRINTED OUT in blue ink and INKED TRADITIONALLY, with Jason and I both working on the same page.

This is page 195 in the final book, which was coded S5.8.2 in the rough files (Seconds: Chapter 5, Scene 8, Page 2). I used a simple code system until the story was locked, so I could add and remove scenes without screwing up all the numbering.
ZoomInfo
Here’s an example of a rough Seconds page vs a finished page. I drew the whole book in rough form, using a Cintiq tablet and Photoshop, and edited the story along the way. The final version was later inked by myself and Jason Fischer, colored by Nathan Fairbairn and lettered by Dustin Harbin. For those wondering, it was “penciled” digitally but later PRINTED OUT in blue ink and INKED TRADITIONALLY, with Jason and I both working on the same page.

This is page 195 in the final book, which was coded S5.8.2 in the rough files (Seconds: Chapter 5, Scene 8, Page 2). I used a simple code system until the story was locked, so I could add and remove scenes without screwing up all the numbering.
ZoomInfo

Here’s an example of a rough Seconds page vs a finished page. I drew the whole book in rough form, using a Cintiq tablet and Photoshop, and edited the story along the way. The final version was later inked by myself and Jason Fischer, colored by Nathan Fairbairn and lettered by Dustin Harbin. For those wondering, it was “penciled” digitally but later PRINTED OUT in blue ink and INKED TRADITIONALLY, with Jason and I both working on the same page.

This is page 195 in the final book, which was coded S5.8.2 in the rough files (Seconds: Chapter 5, Scene 8, Page 2). I used a simple code system until the story was locked, so I could add and remove scenes without screwing up all the numbering.

Here’s the inked version of the very first rough i posted from Seconds!! (inked by me and Jason Fischer — he’s been building a world out of my background sketches)

We are currently inking nonstop until it’s finished. It’s really cool to see it gradually coming together after such a long development process.

OFFICIAL BLOGG POST

I finished writing/penciling Seconds over the weekend!

Seconds is this book… that i’ve been working on since like late 2010…

It’s about a restaurant, and the spiky haired girl, Katie, is the main character, she’s a chef. The dark haired girl is named Hazel (she’s not the main character…) This page here is the last full page I added to the rough draft. They’re having a chat in Hazel’s bedroom (but I took out all the dialogue).

Currently the book is 320 pages long. The next few weeks will be spent editing and revising, then the rest of the year inking and finishing the book, which will be in FULL COLOR!

I have a small staff helping me out on the rest of the process, who I’m excited to announce right now……….

Jason Fischer - art assistant (inking, production, and background embellishment)

Dustin Harbin - lettering (he’s hand lettering the whole book!)

Nathan Fairbairn - coloring (he’s the colorist for Scott Pilgrim and will be doing Seconds in between Scott Pilgrim vol 4 and 5!)

I realized last night that our names are Bryan, Jason, Dustin and Nathan… all ending in -N… we sound like a boy band ~_~

If all goes according to plan, Seconds should be out Summer 2014!!!! Wish us luck…

Coloring process shot on what became the most iconic drawing of Ramona.

Everyone always cosplays this with bright pink shorts, but I originally saw them as much darker… oh well! I love seeing all the variations people come up with — denim jackets, leather jackets, hoodies, gloves, shoes… I love my cosplayers u_u;

Pencil Icon

A Few Hot Tips For Making Better Comics

1. Get a ruler.

2. Get a triangle. A triangle is like a ruler, only it’s shaped like a triangle. It costs like a couple of dollars.

3. Draw straight lines for your panel borders. Use right angles for the corners. That’s what a ruler and triangle can do for you.

4. Measure a distance between your first two panels and then keep using the exact same distance between all your panels in that comic. Those spaces between panels are called gutters. Inconsistently sized gutters look bad and amateurish. Consistently sized gutters look better. It’s a super easy thing to make your comics look way cleaner and more professional. After you try it a few times you don’t have to measure anymore but you DO have to measure at first. So try it!!

EDIT TO ADD: straight lines and consistent gutters is like the comics layout equivalent of figure drawing / anatomy — get the basics down solid before you start getting crazy and stylized. Log some hours doing the most straightforward approach before you decide you’re a genius and can do whatever the hell you want.

corwinwebb asked:

Hey! Huge fan of your stuff, I'm very new to the whole comic book process. I was wondering if you rough an entire book before you start your inking, or do a set of pages at a time? And when it comes time for ink do you often find yourself altering your roughs or do you get them pretty set in stone beforehand? Thanks!

For Seconds, I’m roughing the entire book before inking anything. I’m not finished yet so it’s an intimidating process. I hope it works out.

For Scott Pilgrim, I switched off thumbnails, penciling and inking as I went. I would do like 8-12 pages of thumbnails at a time and then maybe pencil 5-6 pages then ink most of them then go back and pencil more, and so on. Later in the series, maybe around volume 4, I started penciling a whole chapter (like 30 pages usually) and then inking the whole chapter before moving to the next one. This gave me more of a feeling that I was making concrete progress.