Comic Page Layout Template

Here is the page layout template (larger version here) I'm using for Last of the Polar Bears. You're welcome to download and print it out for use in your own comics.

The template is sized for printing on standard letter-sized paper. There's a space for you to draw your comic page, a place to keep track of the page number, and a place to indicate starting date. I find marking the date useful for keeping track of my daily page output. The empty space has a purpose as well. This is where you can break down panels, write notes, and try out different ideas for panels configurations, poses, and expressions before you commit to them in the actual layout. See my previous post for examples.

I originally created this layout for use on Peach Fuzz, so the trim and bleed sizes are suited for a standard 5"x7.5" "manga"-sized graphic novel. The black bars on the top and bottom are there as space fillers because the dimensions are intended for penciling on a traditional 11"x17" comic page.

Book sizes vary, as do individual publisher's designated trim and bleeds. For example, I use a different page template for penciling comic pages for Archie Comics. Think about your desired final output size and plan your rough layouts accordingly.

Making a Graphic Novel (Part 1)

My Creative Process

I've finished scanning and compiling the roughs for the first chapter of The Last of the Polar Bears! 67 pages total. The full story consists of seven dense chapters chronicling a polar bear family's journey and struggle to survive in the changing Arctic. I'm working from a detailed 40-page synopsis of the story Jared Hodges and I wrote together. So far the breakdown is working out to about 10 pages of comic pages per 1 page of synopsis, so I estimate that the complete story will end up being around 400-500 pages.

Because I am both the writer and the artist, I decided to bypass the step of writing a traditional script for The Last of the Polar Bears, and work straight from synopsis to rough thumbnail pages. This allows me to be very flexible with my roughs. I read over my synopsis, then visualize the look of the pages as thumbnail drawings while I'm breaking down the actions panel-by-panel. In this way, I can quickly discover whether scenes that are easily described in text work visually, and make necessary corrections.

Here's page 17 and 18 from synopsis to rough thumbnails, in which the twin polar bear cubs Stella and Nanook experience the outside of the den for the first time:

Synopsis:

Stella asks Nanook what's up there. The next panel is his point of view. Endless white snow, and arctic twilight. Frostbite (an arctic fox) is also in the shot, but she is well camouflaged. Her tail is wrapped around her face so that she looks unremarkable, like a lump of snow. "Nothing. Everything's white!" A cold breeze sets his teeth chattering. "It's cold up here!" Shivering, brother cub tumbles back into the den, and falls on top of Stella. Stella protests and goes into battle mode, but he just huddles against her for warmth. It's no fun to play with an unwilling partner, so she gives up and calls him a wimp . She asks him if he saw "it". He shakes his head no. "Just lots of snow."

I breakdown this description into a list of panels, each with a short description of what I want to bring to the attention of the reader. My thumbnail page layout (template here) measures 4"x6" on an 8.5".x11" page and contains pertinent information such as trim and bleed so that I can plan out the overall look of the page along with composition, actions, and word balloon placement.

Sometimes the pages come together in a very straightforward fashion. Sometimes I'll end up trying multiple panel configurations. On page 17, you can see that I've come up with alternate takes for panels 1, 3, and 5.

Once the thumbnails are drawn, I scan them into the computer and assemble the pieces. Here's how 17 and 18 currently look.

These thumbnails are my roadmap for the next step: penciling the pages at full size. With composition and content of the panels figured out, I'll be able to turn my focus to drawing the characters tighter, cleaner, on model, and anatomically correct (to name just a few of many things I'll be keeping in mind as I work through the pages).

I'll continue to delve further into aspects of my comic creation process (with more Last of the Polar Bear sneak peeks!) in upcoming blog posts, so stay tuned for more.

365 Days of Manga

Here I am in front of my manga bookshelf, holding five new additions to the collection, courtesy of Jason Thompson (writer of the excellent Manga: The Complete Guide, and upcoming graphic novel, King of RPGs) and his 365 Days of Manga contest. The contest is still ongoing over at suvudu.com, so be sure to check it out. All you have to do is fill in your name and address on the left side box, and you're entered to win five books from Jason's extensive manga collection.

Jason sent me Gon, Kiichi and the Magic Books, and Chikyu Misaki v1-3. The artwork in Chikyu Misaki, by Iwahara Yuji, is adorable -- very cute characters in a unique sketchy inked style. I think the stand-out book in the pile, though, is Gon, which I can only describe as mix of mascot character cuteness with over-the-top hard-boiled action in the vein of Battle Royale. Strange, I know. Gon is this tough little dinosaur (set in a time after all the other dinosaurs have gone extinct), who is not above beating up other animals to get what he wants. There's no dialogue in the book--the story is told through actions alone. It's so well drawn that it's still very easy to follow. It's masterfully done. Very inspiring.

Thanks, Jason!

Polar Bear Postcard

Here is the second illustration I've done for The Last of the Polar Bears, a new graphic novel I've been working on. You can read a little bit more about it and see the first illustration here.

This illustration was created for the back of my new winter promo postcard to celebrate the new year. If you'd like a copy of the new postcard, sign up here to receive it (yes, it's free, so don't be shy!).

2009 Art Year in Review

In January and February, I was finishing up my how-to draw book, Draw Furries - How to Create Anthropomorphic and Fantasy Animals (more info). I started experimenting with coloring over pencil lines (as opposed to inked) in Draw Furries. I thought it wouldn't work because I'd tried it in the past and it looked sloppy (for example, pencil illo from 2006), but as it turns out, that's just because the pencil lines were sloppy. My line art is much cleaner and refined now, so adding colors works fine (and suits me because I enjoy penciling a lot more than inking).

In March, I began working on my children's illustration portfolio, which I continued to work on till August.

In April through June, I worked on two chapters of Domo: The Manga for Tokyopop. With it came an opportunity to try my hand at color comics, something I had been thinking about doing for a while. I really like the results. I still love black-and-white comics, but I don't think one should limit themselves to black-and-white if color makes sense for the project.

I started doing 1-hour speed paints in June, around the time I started the Boy and Gator illustration series, when I realized that I didn't have a good technique for painting trees, and as a result the background in this image was taking me much longer than it should. Since then, I've tried to do that daily speed paints, when time allows, and have practiced everything from water reflections to realistic portraits of dogs.

In July, not pictured here, I did some Sonic the Hedgehog "Off Panel" comic strips for Archie. That was a blast from the past for me, as I spent a lot of my teenage years with my cousin making little Sonic fan comics. I think the strips are currently running in the back of the Sonic the Hedgehog comics, up through issue 208.

In September through November, I turned my focus onto a new comic project, and started doing a lot of research and development for it. Writing, sketching, character designs, etc. Because of this, the only color work I did was in the form of 1-hour speed paintings. November's speed paint is a Christmas gift for my aunt.

Finally, in December, I finished my promotional poster illustration for The Last of the Polar Bears - the new graphic novel I'd been developing the last three months, and will be continuing to work on in 2010.

Here's links to the illustrations featured in the 2009 Summary of Art:

January
February
March
April
May
June
July
August
September
October
November
December

Blank 2009 Art Summary MEME comes from: http://audreydutroux.deviantart.com/art/MEME-2009-Summary-blank-147170285

The Last of the Polar Bears - promo poster

This is the promotional poster for The Last of the Polar Bears.

The Last of the Polar Bears is what will hopefully become my next graphic novel. I've spent the last year thinking about it and the last couple months writing and developing the groundwork for it. I just finished plotting out the story in detail from beginning to end, so now I'm ready to move forward with the creation of the comic itself!

This promo illustration, portraying an iconic scene from the first chapter of the story, had a pack a lot of punch with a minimalist execution. With so little detail, it wasn't difficult to draw, but every aspect of it needed to be just right.

I find it very helpful to create a number of tiny thumbnail sketches, to quickly try out different takes on an idea. Working with a general idea of a polar bear cub poking his head out of the den for the first time, finding himself surrounded by an unending sea of white snow, I created a couple of concept sketches:
In these examples, note how composition, placement, and size of the cub play a big role in mood and feel.

#1 is a strong close up on the cub's face, grinning as he takes a peek at the outside world - cute, but completely at odds with the title of the book.

#3 is closer in feel - the landscape is vast, the cub is small--there's a real sense of loneliness going on, but it's so far pulled out from the character that scene no longer feels intimate.

#2 is almost right on target. The cub is cute and awestruck without looking too giddy. But the centered figure is boring and predictable.

#4 takes the aspects of #2 that I liked, but moves the cub into the lower corner. The title is placed in the upper right corner to balance the piece.

Once I had the composition figured out, I set about drawing the character.

He went through several drafts (including some slight variations with him smiling, not shown here) before I finally hit upon a version that worked for the poster.
And here you have it, the finished line art of the cub seen in the poster (flipped in the illustration):

Stay tuned for lots more. I look forward to introducing you to this little guy and the rest of his family. :)

Speedpaint 29 - Angry Gorilla

Today's speedpaint is a stern looking gorilla from Disney's Animal Kingdom. I find the human similarities in apes and monkeys fascinating. Their facial expressions especially. Perhaps because of how expressive they can be, I couldn't help but feel bad for this guy. He was looking out at the people passing by with such a fierce and unhappy expression, like he couldn't put his guard down with everyone around. Or maybe gorillas are like this in the wild too? In any case, it makes me think about the implications of keeping animals in captivity. Not that I'm anti-zoo or anything. They allow people to view and appreciate animals that they wouldn't otherwise have an opportunity to see and I enjoy sketching zoo animals.

My clock crashed when I was working on this one, so I don't have an exact time but I think it took me about an hour and 20 minutes. Photoshop CS3.


Here's a bonus speedpaint. A sheet draped on the floor, 16 minutes.

Speedpaint 28 - Thanksgiving Charly

Another Christmas present. This one's for Charly's owner. :D

Photoshop CS3, about 1 hour 10 minutes.

Charly the Shih Tzu was also the subject of my very first speed painting attempt earlier in the year.

Speedpaint 27 - Thanksgiving Tiki

This is a painting of my parent's cat, Tiki. Like the last picture I posted, this is also going to be a Christmas gift. I got caught up in the details and ended up spending about two and half hours on it (I broke my own speedpaint rule of "Work at 50% and never zoom in", so it's super detailed even at 200% zoom).

In case any one is wondering, I should clarify that these paintings are done primarily for practice. I haven't lost my mind or given up comics or completely overhauled my art style or anything like that. Just trying to challenge myself and pick up some new techniques to use in the future on actual work.

For the past couple months, I've been focusing very intensely on a new graphic novel pitch. I've put a great deal of work into it so far: research, detailed chapter-by-chapter synopsis, in-depth character descriptions and histories, mountains of sketches, and character designs. Thing is, that's all behind-the-scenes stuff that I can't share. I have one more chapter to go on the synopsis, and the ending has been set since almost the beginning, so it's just a matter of fleshing out the final part. Then I can move onto scripting and storyboarding the first chapter. This new story is something I've been thinking of since last year, so it's really exciting to see it all coming together. I should have a lot more to show in the upcoming months. :)

Speedpaint 26 - Aunt Carol

This started out with the intention of being a speed paint, but became a "slow paint" when I realized that I'd need to be more meticulous to get an accurate likeness. I've been picking away at it slowly for about the last week. I believe I put about five or six hours into it total. It's a Christmas present for my Aunt Carol, of her and her new boyfriend (reffed from a photo). She wanted it 8.5"x11" size, which also made it more time-consuming (previous speed paints were done 4"x6").

The most difficult part of the picture was probably the hand. I don't usually have too much trouble drawing hands, but attempting to depict one with color and volume without the help of an underdrawing or lineart...very frustrating. It went through a couple revisions.

It's probably obvious that realistic painted portraits are not my area of expertise (this is my first attempt since...high school, I think?) but hopefully Aunt Carol likes it.