#comics tutorial

[hannahvardit]

A brand new tutorial! This one's about writing. Buy here!

[senasadventures]

Hey! (It's me, almathecolormaniac just in asks tumblr only lets the main blog to ask)

Do you mind if i ask here, about your comic?

Like how did this story come to your mind, or what is your motivation to make tangible. (i mean my ideas for stories never get further than my mind 😆) And what does the drawing process look like for you?

When did you found alta and what is that you like about it, do you like to read fan fictions too?

Or just ramble as much and about anything or nothing really, no pressure i dont mind at all.

If anything, thanks for your art and have a good day!

Hello there! Thanks a lot for your message!

I’m posting this as public because maybe it could help somebody else too. When I first started making this comic, I was really overwhelmed and wished there was someone to share their own experience to help.

This is going to be long!

When I first started with Sena's story, I was not intending to write a tangible story or make it into an actual comic. I was simply drawing a character as I was fantasizing about an Avatar story.

Just with this little drawing, there was immediately a concrete picture of what kind of character this was in my head, along with her age, her name, her possible path... Other characters followed in much of the same way, without even trying to create them. It was like they were just there. Sometimes the stars will align and such things will happen.

It's interesting how it all started with Nina (whom you do not know yet) and not with my main character Sena. But it's not strange as I always loved drawing waterbenders the most (and their hair loopies)! Nina gave me the headstart to imagine all the rest.

Wishing to give these characters the story they belong to, I began writing , in book format, without any plans on what to do with it later.

I talked about this in another post before, but one of my biggest motivations was that I wasn't content with what followed after the original show and really wanted to see what I'd do with the Avatar Universe. I wanted to prove that a story didn't need to have war, epic battles, villains or "edgy" superpowers to be interesting. And I wanted it to be about "kids", having the same naive and simple (yet deep) quality that I love about AtLA.

Much of the initial writing came naturally to me, and I was influenced by the themes that played out in my own life. Many of Sena's struggles are also my struggles and it means a lot to me to find out where they lead in Sena's case. I write the story as I go and although there are certain events I already know I want to lead into, much of it is still uncertain.

( One of the influences to this story was The Neverending Story, which I had read shortly before I started writing this story. Some of Sena's characteristics were inspired by Bastian, and Kai's were inspired by Atreyu. )

At some point I decided to make this into a comic, which I was hesitant since I knew it would be laborious, but it was the medium that this story would really flourish and catch other's attention as well. And I did want to share it.

There were a lot of tasks ahead of me before I could actually start drawing the first pages. I have different locations in this story, different cultures. I needed a visual language for them.

Shun Fei is a culture that borrows from both the Fire Nation and the Earth Kingdom, but it's not supposed to look like either of them. On top of that, it has some of what may be called Western influences to it, as it carries the kind of values that in our world, first came to be in the West. In order to incorporate that while preserving the Asian aesthetic of the Avatar Universe, I borrowed some subtle elements from both Roman and 19th century European aesthetics, or even a little bit of medieval Europe. The pillar architecture of the Shun Fei government building, or the white shirts with puffed sleeves and raised collars of Shun Fei citizens are examples to that. For the color scheme, I went with white, black and brown. It's weird how that hadn't immediately occur to me, but was the most sensible choice, given everything about Shun Fei.

At times, I kept some colors and elements from Earth Kingdom and Fire Nation fashion, but I think it was too much. I actually generally dislike this frame anyway :D

When you're making a comic, there are so many details that are invisible to the viewer, but you nevertheless have to work on. To be honest, it was driving me crazy, because I was unable to produce anything visible for a while. It's best to know this beforehand and be patient with the early stages of your work. It is going to save you so much time later on.

Once I started drawing the pages, there was once again, a lot more that was driving me mad.

I was trying to be authentic with my visual language of the comic, such as the design of the frames and the flow of the story, because I wanted this to have a "book-ish" feeling and a little bit of ancientness to it. I didn't want it to feel like a modern comic. This was taking a lot of effort, because there isn't anything exactly like it that I can imitate.

Secondly, drawing comics is A LOT OF work. It takes so much time that I was unable to move forward with the story! I went from fully colored to monochrome, and later from hand-drawn to all digital. I tried a lot of different approaches and if you look carefully, you can see how the style changes throughout the pages, which I think is not a good thing professionally, but fortunately this is a personal project from which I'm learning.

What I currently do is, I make a storyboard on paper with adequate details to use as a sketch under my digital lineart process later on. I have at least 3-4 other pages' storyboards ready before I start drawing a page digitally. I used to make the storyboards from the text I wrote when I began writing the story in book format, which was difficult to adapt. Nowadays I'm working on a segment which I hadn't written in text and I directly write on the storyboard.

I still don't know how some people can draw so many pages in so little time, it's a mystery to me. But I did get faster and more efficient in time, mostly because I understood how to do things and don't have to think every single thing through anymore.

Another thing with my process is how much I've found it difficult (and mostly still find) going consistently at it. There were many long breaks along the way and it took me longer than 2 years before I made 20 pages and started uploading this comic here.

All of these things can be very discouraging. I questioned my ability to be professional a lot, which I do want to be, since I don't want Sena's Adventures (and other stories I want to make) to just be my story and stuck with me. I want to share it with the world and do it in the best way possible. (It was my dream ever since childhood) To do that, you need many practical skills. But these do come in time and I feel a lot more confident now. I love this story, I've had a bond with it and I love doing something related to AtLA, my old time love. And I really wanted to see where this experience would take me, so I stuck with it.

A lot of people, like me, miss the Avatar of their childhood. I wanted to make a story that had the same kind of feeling. I tried to stick to the original spirit of the show, while incorporating elements that matter to me on a personal level and which I believe are on the same line with AtLA.

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For your second question,

I used to see AtLA on TV as a kid and at some point I started to get interested in it, and later became a die-hard fan. It was 2008 and I was 12. This also marked my entry to digital art and the DeviantArt community, which became a huge thing for my life. I kept making Avatar fanarts until I was like 14-15, some of which were fairly popular back in the day! Good times.

As a kid and teen, I was someone who always lived with fantasies of my current favorite show in my head, the most long lasting one being AtLA. I wonder how many nights I must have fallen asleep thinking about the next romance story between Aang and Katara.

I occasionally had attempts to illustrate stories in my head throughout the years, but these were mainly childish attempts (although there's nothing wrong with that) and always left too early, so I never knew what a professional effort would look like until I began this project. It has been a great learning opportunity.

[unregisteredcat]

Did a small #tutorial for class on "How to Improve Storytelling in Panel Layouts"! Thought it might help some peepz around here!

[gingersnappish]

Part 1 of my Design and Layout for Comics lecture! 

Here’s part 2: https://gingersnappish.tumblr.com/post/614575142440517632/part-2-of-my-design-and-layout-for-comics-lecture

[kutty-sark]

Detailed comics page walkthrough is available on my Patreon! <3

https://www.patreon.com/kuttysarkart

[rapidpunches]

Hey! Have you been waiting for a continuation of my “How-To-Comics” thing? I’m working on it and you can download a .PDF preview from my gumroad.

https://gumroad.com/l/vJFSK

To get it for free put 0.00 as the price but please consider pitching me a $1 or something. It’ll really help me owo;; !

[fox-teeth]

Are you someone who...

...makes comics using traditional media

...has access to a light box

...and absolutely hates math and finds doing all the measurements to properly lay out your pages and panel borders a frustrating, time-consuming, emotionally harrowing slog you dread doing?

Then I have an HOT ART TIP for you: get a piece of paper at the size you normally work at, and lay out your preferred live area, gutters, trim lines, bleeds; whatever marks you use. THEN draw any panel sizes and dimensions you normally use the the live area: here I’ve put overlapping 2x2, 4x4, and 3x3 grids with my usual gutter size in different colors on mine. Now, whenever you start pencilling a new page, you can use a lightbox and a ruler to quickly and accurately trace your usual layout and a variety of common panel sizes onto your fresh bristol! See the photo above for an in-use example. And even if you’re not using panels that fit neatly into one of the grids you’ve created they can still serve as helpful visual guideposts as you work. 

Creating this tracing guide has saved me time, effort, aggravation, and reduces the chances my barely-math-literate ass will screw up somewhere in the measuring process. This trick isn’t just for finished art: I’ve created a similar guide for the usual size I thumbnail at and also recommend it. I’m sure other people have figured this one out before (I’ve seen similar for digital use), but I recently came up with the idea of creating these templates myself and found that they’ve really streamlined my process and decreased the amount of MATH RELATED PAIN I experience while working so I wanted to pass this tip on to others!