Digital artwork of the opening page in a 48-page comic titled 'Amphiox'. It depicts the title in loosely-kerned Alegreya font as well as a section of some sort of eel, fin included.

Defining Steps in a Personal Production Pipeline
My Amphiox short comic is an exercise in art production. Up until I attempted it, I’d never really done much longform comic storytelling. Most of my practice was in one- or two-page micro-stories. I chose 48 pages as a test for art production because that’s a typical length for a ‘floppy’ comic book, like the ones that debut monthly in comic shops. As I continue to work on it in drafts, I have to define particular stages of production. This frees me from judging myself too hard too early; if something’s not working, I can do my best and then leave it for a later pass.

At the moment, I’m working on inking. However, prior to this I needed the following passes:

  1. Thumbnailing
  2. Value Sketch
  3. Roughing
  4. ‘Clean’ Roughing

I don’t like two separate stages of roughing. For the purposes of figuring out how I like to work I had to give myself the opportunity to ‘let go’ on any given panel in my comic. But, will this be a fast enough process to deliver a comic according to a tighter schedule with more people’s livelihoods on the line? Most comic art I see has a roughs stage, then a lineart stage, nothing in between. I wonder if I have to sharpen my confidence to get to that stage?

Just for fun, here’s what the above stages look like on the most complex spread of my comic so far. It’s an airship village that I named ‘Villagespread.psd’ and it’s fun but I also am expecting a lot of myself with it.

Digital artwork of a very scribbly, simple 'airship village'. If you squint it might be full of airships.Thumbnailing

Digital artwork of the airship village, rendered in stark black and white. The shapes are still very abstract. There's stick figures running through it shouting 'Amphiox! Amphiox!'Value Sketch (with extra panels to indicate the path the characters take)

Digital artwork of the village spread, now drawn more competently and with grayscale shading. It's still pretty rough but at least the airships are visible.Roughing (with grayscale study)

Digital artwork of the airship village spread, with more work on the characters and refined setting pieces.‘Clean’ Roughing

Digital artwork of the airship village spread with the rough sketch set to low opacity, and a few polished lines on the left of the composition.
Inking (Work in progress, of course!)

I also did some late-stage editing on the writing in this draft. When test readers went through the comic they were greatly misinterpreting the following spread. They thought this was a rescue team. I came to the conclusion that this was just a few too many threads in a very short, simple story.

A rough spread with a subterranean submarine, new characters, banter, and uh yeah it's confusing.

However, it’s a bit late in the game to commit to a spread that is equally complicated as this one.

Digital artwork of a view over a hill. There's an airship village on the beach. A rickety house sits on the hill. Off in the ocean there's a grotto. There is text: ONCE UPON A TIME... A traveling village perched upon a shore.  The villagers kept an eye on the horizon. Hungry and deep, the ocean growled. The villagers called their planet, 'haunted'.

I schooched in a ‘prequel’ spread using graphic design to minimize the amount of art I needed to draw. White space is more than about being artsy or airy…it’s also about freeing yourself from extra work. This spread also solved a problem with staging that I had. It’s important that the reader be able to ‘feel’ the location of the airship village in relation to the Amphiox grotto and the haunted house on the hilltop. I’m not the greatest at prose but hopefully I could give a little bit of cultural context to how people react to giant magic doom eels.

Scanned traditional sketch of Lyrat with a patchier outfit and more utilitarian clothing.

I also redesigned Lyrat Poes (‘Poesy’ in the comic) because I didn’t want her to be so symmetrical. I also felt like her original balloony clothing was going to get caught on stuff. Now she looks more like she mods her outfits for jobs rather than fashion.

What’s Next?
Inking! So much inking. Especially that airship spread, wow. I was averaging about 3 full spreads per day before I hit that one.

How am I Feeling About Warlock’d?
Right. This was meant to be a thing that helped me with Warlock’d. Okay, so, I’m feeling intimidated by the amount of work I have to do to make a very long story (300+ pages) coherent and as polished as I am making Amphiox. However, I think that I can commit to polishing individual chapters and editing layouts in the same way that I’ve been editing Amphiox layouts. Am I glad I made Amphiox? Yes. Do I enjoy how much time it’s taking from Warlock’d? No, but at the same time, I needed a break from Warlock’d.

Care to read more?

Cocoon Year: Weeks 21 & 22

Cocoon Year: Weeks 21 & 22

Cocoon Year: A New StartI keep saying I'm not going to restart the outline, but I wasn't having any fun writing my rough draft and I think that's a sign. Re-simplifying the story should help get the finish line closer.   Cocoon Week 21 I wrote things. Mostly, I went...

Cocoon Year: Weeks 19 & 20

Cocoon Year: Weeks 19 & 20

Cocoon Year: May WoesI keep saying I'm not going to restart the outline, but I wasn't having any fun writing my rough draft and I think that's a sign. Re-simplifying the story should help get the finish line closer.   Cocoon Week 19 I wrote many scenes in Warlock’d...

Cocoon Year: 17 & 18

Cocoon Year: 17 & 18

Cocoon Year: April into MayI re-did my outline and dismantled my trello, just to set it up again for more writing madness. I have a definitive list of 20 scenes that I’d like to have in my story and now I’m going to see how they look all fleshed out.   Cocoon Week 17...

Want to chat about this?