"Seconds" roughs to ink and color. 
Story and roughs by me, inks by myself and Jason Fischer, color by Nathan Fairbairn, letters by Dustin Harbin. I love how much care and detail EVERYONE put into their work on this page. You can tell Nathan is a Canadian because of his intimate knowledge of snow and ice.
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"Seconds" roughs to ink and color. 
Story and roughs by me, inks by myself and Jason Fischer, color by Nathan Fairbairn, letters by Dustin Harbin. I love how much care and detail EVERYONE put into their work on this page. You can tell Nathan is a Canadian because of his intimate knowledge of snow and ice.
ZoomInfo

"Seconds" roughs to ink and color.
Story and roughs by me, inks by myself and Jason Fischer, color by Nathan Fairbairn, letters by Dustin Harbin. I love how much care and detail EVERYONE put into their work on this page. You can tell Nathan is a Canadian because of his intimate knowledge of snow and ice.

youngcassie:

That moment when you consciously make the decision to buy a certain type and colour of dresser because Bryan Lee O’Malley made it so.

hahaha…

The dresser in Seconds was inspired by a green dresser that was in one of my toronto apartments. It was there when I moved in, and I left it when I moved out. I used it and wondered what its story was.
ZoomInfo
youngcassie:

That moment when you consciously make the decision to buy a certain type and colour of dresser because Bryan Lee O’Malley made it so.

hahaha…

The dresser in Seconds was inspired by a green dresser that was in one of my toronto apartments. It was there when I moved in, and I left it when I moved out. I used it and wondered what its story was.
ZoomInfo

youngcassie:

That moment when you consciously make the decision to buy a certain type and colour of dresser because Bryan Lee O’Malley made it so.

hahaha…

The dresser in Seconds was inspired by a green dresser that was in one of my toronto apartments. It was there when I moved in, and I left it when I moved out. I used it and wondered what its story was.

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.

Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
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Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo
Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo
Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo
Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo
Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo
Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo
Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.
ZoomInfo

Evolution of “Lis” from Seconds.

Development sketches, 2010-2011. The final sketch (in leopard print) is an outfit sketch from later in the comics process, mid-2013, after I’d drawn her in the comic a bunch of times.