Wednesday, October 19, 2011
Many artists will thumbnail out an entire chapter or arc before starting a single page. This allows them to see how the chapter works as a whole with little commitment. The artist can work loosely, sketching in the merest of stick figures, or tight, figuring out the perspective in miniature before committing to a large page.
My first thumbnails were really rough things, jotted down in haste. Now I actually do two sets of thumbnails- the first is on the script itself to help me figure out layout, there are really rough and maybe an inch by two inches. After I've got the basic layout figured out, I do larger thumbnails at around 2.5x4 inches. If I work really tight, I don't even have to do 6x9" roughs, I can go straight to pencils, but that is a rarity.
My old process:
(I've lost the thumbnails to this, but the roughs are SO ROUGH and SO BAD, that they might as well be loose thumbnails)
With Foiled, I changed my working methods a lot. I created tight thumbnails and tight roughs, and printed my roughs out as bluelines, tightening up faces and acting in graphite, and then inked over that. It saved me a step (pencils), and allowed me to be more dynamic, since I wasn't redrawing the same thing over and over.
For my latest project, I did tight thumbnails, blew those up to 11x15" and inked over those. I wouldn't do this if the project had any challenging perspective, but since this was an outdoor scene and involved only animals (and I was extremely short on time and resources, knowing I'd be in New York the entire weekend), it wasn't really an issue. I only recommend this method if you feel confident in your work.
Vigilante comic artist, illustrator, and comic craft blogger at www.nattosoup.blogspot.com. I have an MFA from SCAD in Sequential Art, which means I'm highly educated in the art of drawing funny picture books. I specialize in comics aimed at young girls, and enjoy the finer things in life- seinen manga, whiney autobio graphic novels, and science fiction.