I’ve been practicing and preaching about the digital workflow for presenting comics for quite some time. It is perfectly fine to draw and ink and color by hand, but if you are on a time-sensitive schedule, or you want to simply speed up the process, you may want to consider making the jump to digital for a number of reasons. This post will discuss the benefits of learning how to draw comics using a purely digital workflow.

Many seasoned artists have a set routine when it comes to their workflow. They sit at their desk for a set number of hours per day, have certain tools at their disposal, set a certain amount of days to achieve production goals, and are quite comfortable in their approach. While it sounds like the ideal situation, it may not be the best method for everyone. The traditional workflow for a comic artist generally looks like this:

Rough sketches > Pencils > Inks > Color > Final tweaks

Now, if you’re working for an editor who has a number of specific changes, this can be extremely time consuming. Drawing out your panel roughs and presenting them, then going back and erasing, redrawing and presenting again can be a serious hassle and eat up valuable time. Especially if you have to scan in these changes, convert them to a JPEG file and e-mail them on for review.

Using a fully digital workflow for creating comics saves a lot of time you would spend erasing planning lines, tracing from a lightbox, photocopying and resizing, and scanning. All of these physical actions are virtually eliminated, giving you more time to come up with quick concepts and sketches, then refinements to those sketches.

Instead of lugging around a sketchbook, full sheets of bristol, your pencils, inks, brushes and other miscellaneous tools, everything you need is in a file or two and on one (or maybe two) programs on your computer. If you use Photoshop, you can set up various layers for your ideas and concepts and use them as reference. You won’t have to keep multiple sheets and layout pages and cut pieces from all over in order to make something complete – you’ll have the ability to do all of that in one spot! Here’s how to draw comics using the digital process.

From Roughs to Pencils: Once you’ve sketched out your rough plan, you can simply create a new layer above it, and proceed to trace and refine your artwork.  This eliminates the lightbox step.

Pencils and Revisions: When the pencils have been set and it is time to make modifications to perspective, proportions or the overall look of your panels, you can easily distort, copy, move and adjust your artwork without having to draw/erase/draw like you would with traditional pencils and paper.

From Pencils to Inks: At this stage, you can create a new layer above your pencils, and simply retrace and modify them – or you can duplicate your pencils, darken the linework and add in your ink details. There are no faint pencil lines you need to erase after inking in order to clean up your image – you’ve already created a clean, inked page with a few button clicks and WACOM stylus strokes. The digitally inked page is also more precise and has cleaner edges – traditional inks can bleed on the page and cause the edges to look fuzzy.

From Inks to Color: Once your final solid inks have been created, you can proceed to color your work using numerous digital effects and techniques – airbrushing, metallics, smooth gradients, light effects – can all be achieved in less time. The bonus to this is, if you don’t like the result, you can simply undo it and try it again. This eliminates any guesswork and failures after experimentation. You wouldn’t be able to get away with that if you rendered your colour by hand. Also, your colors will have been chosen specifically using the printed color gamut, so you won’t have any surprises when the final piece is created. There is no conversion necessary from a scanned image.

Adding Dialogue and Sound Effects: With a wide variety of comic book styled fonts and lettering, you can set your dialogue and sound effects in place in minutes. Instead of trying to determine where these items will be placed in relation to the drawn page, and hand rendering letters, you can easily type them on to your screen, then resize and distort them to fit.

The Finished Piece: Now that your page has been drawn, inked, colored and lettered, there is no need for a final scan in order to prepare the file for printing (since modern print-shops create rips from digital files). Your file is already 100% digital, and is print ready.

Another benefit to the digital workflow include the ability to use and obtain reference material. You may have a folder or a file that contains various poses, landmarks, color inspiration etc. that you can view at a moments notice. You can drag these elements into your working file and use them as reference from a spot on your desktop – it is almost like having a digital drawing table with all of your photographed resource material laid out in front of you.

The real benefit comes from being able to make all of those items disappear by turning the visibility of a layer on or off in your Photoshop file.

Scott Kurtz of PvP fame - hard at work.

There is my basic plug for using the digital workflow method when you are learning how to draw comics. These techniques are extremely effective in saving you time, and I highly recommend them. It may take some time to find a comfortable routine, and it may be a big expense initially (if you do not have all of the tools and software first) – but the end result pays huge dividends. You can start out slowly – replace one of your traditional steps (pencils, inks or color) with a digital method, and eventually you will be confident enough to replace a number of the steps until you are using a fully digital workflow for your comics.

Experiment and practice – you’ll be more efficient with time!

Mainstream comics are brilliant displays of finely crafted artwork – with the relative costs of ink colors on press dropping significantly, comics publishers have taken advantage of full colour in order to grab the attention of readers. However, color is not just limited to eye-candy and attraction – great comics use color to capture the mood of a moment or to help with the pacing of a story. Here are a number of tips on how to draw comics more effectively through the use of color theory.

I’ve written a short step by step tutorial on applying color to your inked comics, and I have also posted a number of links to various tutorials on the basics of color theory. Have a look at those previous posts for additional information, in order to help you with some of the terminology and concepts explained in this post.

Color Combinations

Color combinations are used to create a pleasing arrangement to the reader’s eye, and to attempt to elicit a certain mood. Most of the time, this is done at a subconscious level, and when done correctly, will advance the story in a proper manner. There are a number of rules when using color that can be explained in full detail in the Color Theory post.

In comics, complementary colors are used to produce tension and also to produce harmony, depending on the response you are attempting to create. I have included this colour wheel by Don Jusko – his Real Color Wheel theory teaches the idea that darkened, shadowed colors achieve a neutral dark tone rather than a flat black devoid of any hue. This wheel was created for print/paint in order to take advantage of realistic color created under certain light conditions found in nature, and eliminates the use of black to create shadows (which makes your colors muddy and dull.)

For the greatest vibrancy of colour, use its direct complement (the pure colour directly across from it on the wheel). Note: Jusko’s wheel is quite different from the traditional color wheels you have seen. His complements are direct optical inverses of one another. If you are uncomfortable with this method, use the traditional wheel which relies on black to create shades.

Another method of effective color combination comes from the use of analogous colors. These colours are found beside one another on the colour wheel, and when used together, help to amplify moods. For example – using a combination of BLUE/BLUE GREEN/GREEN could create a feeling of doubt, mystery or an eerie, creepy effect – this is why it is commonly used in horror films and images.

There are also discordant color combinations, monochromatic (single-color), triadic (triangular equidistant on wheel) and more which you can use to add emphasis to your panels.

Temperature

We’ve all heard of cool and warm colors – but how do they work within comics? Well, similar to painting and color composition in drawing and photography, a cool colour palette within a comic panel will evoke a feeling of despair, sadness, melancholy, etc. At the same time, these tones will also slow down the pace of the story in that particular scene.

In these panels, Peter Parker reflects on some memories of Gwen Stacy while he’s cleaning out some stuff in his attic and coming across her picture.

To the untrained eye, you may have sensed a feeling of regret and reflection, coldness and emptiness – and it wasn’t merely the dialogue that evoked that feeling. The shades of blue and dramatic shadows helped intensify that feeling. Color is used to play upon the subconscious of readers. We associate colors with feelings – and feelings are also associated with temperature. Anger, excitement, intensity, love, and happiness are associated with warmth and heat. Sadness, anguish, lonliness, despair, regret and misery are associated with cooler temperatures.

This temperature effect helps the colorist control the mood of the reader – if it is a tense action moment, perhaps the scene will have more reds and oranges to heighten the urgency. But a dramatic, sad scene like the one illustrated above will make use of subdued, cooler hues like blues and purples.

Determine the mood within the panel, and choose the right color to amplify it. Being subtle in pencils, inks and dialogue works some of the time – but effective color can really drive home the point.

Focal Points

We touched on creating focal points when you’re learning how to draw comics in this post about composition and layout. Now I’ll show you how color can enhance this direction. Look at this panel from Skaar: Son of Hulk, and see where the focal points of each panel are.

The huge yellow blast behind Skaar in the first panel draws emphasis to that particular area on the panel. It is an intense scene with a number of active elements on the page – a chasm opening up, rocks being smashed and flying about, all from Skaar pounding the ground. You could easily emphasize one of the wrong elements and have the scene be interpreted differently. In this example, the emphasis is on the power of Skaar’s impact. By using a fiery yellow blast, it also elevates the feeling of action and strength.

If you look at the last panel, you see the emphasis is on the red figures in the background. Their anger and rage is intensified with the red and yellow fiery tones. If you couldn’t tell they were pissed from the line drawings, you can sure figure it out now.

Another effect used on this page is saturated colors – in the second panel, the figures in the background are of lesser importance, so their colors are muted and desaturated. Meanwhile, in the foreground, Skaar’s leg appears much more prominent, partially because of the stronger line weight, but also because of the deeper, saturated color. The same effect is seen in the third panel – except this time, the background figures are prominent, and the foreground figures are subdued.

Subconscious Themes

As I mentioned earlier, color can be used to evoke feelings at a subconscious level through temperature and experiences from past associations. Another method of playing upon subconscious thought is through the use of polarization and dominance. Visually, the boldest color scheme is the primary color triad of RED-YELLOW-BLUE. Secondary to that is GREEN-ORANGE-VIOLET, and beyond that is the tertiary scheme of the in-between colors (YELLOW-GREEN, BLUE-VIOLET, RED-ORANGE etc)

Here’s an interesting observation you may not have noticed. Check every major superhero you know, and look at their color palette.

Captain America – Red and Blue
Spiderman – Red and Blue
Iron Man – Red and Yellow
Superman – Red, Yellow and Blue
Shazam – Red and Yellow

Now compare that to typical villains:
Doctor Octopus - Green
Dr. Doom – Green
The Hobgoblin – Green and Orange
The Green Goblin – Purple and Green
Parallax – Orange and Green

Notice a pattern? The heroes are often outfitted in the dominant primaries, while their evil counterparts are in secondary colors. This subconscious color scheme forces you to believe that the hero is the most dominant. I’ll bet some of you didn’t notice that. Now, this isn’t a cemented rule, but you can try that effect out in order to accentuate the main character in your next story.

Overall Effects

Smaller details such as warm glows, refracted light, mists and hazes, and environmental effects can also increase the dramatic effects in your panels. For example,

this image of Batman standing amongst the shadows shows the city of Gotham in a brooding, mysterious blue-grey haze. There is additional contrast to the focal point (Batman) where a cool bluish-white glow surrounds the hero. This intensifies the dark background and makes the city look even more sinister.

In this image, the warm glow of the sun casts a number of warm colors this sullen warrior. The front of the character has been washed with cooler tones, perhaps to bring out an evil side, but the colored highlights from the light source in the rear create contrast through some subdued complementary juxtaposition (red-oranges-yellows / blue-green-purples). In addition to the glow of the scorching sun, there are some wisps of mist in the chasm behind the main character, creating depth and separation of the foreground and background elements.

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That concludes our lesson for today – I hope you’re able to take some of these tips on using color effectively to help you learn how to draw comics that are vibrant and inspiring. If you’re looking for some color ideas and themes, check out Kuler – an Adobe project showcasing designers and artist’s color palettes to inspire and evoke moods for your next project. See you next time!

If you trace back the history of inking in comics, its sole purpose was to enhance the initial drawn lines by the penciller so they would reproduce properly when printed. Now, inking is an art form in itself – much more than simply tracing a penciller’s work. Inkers are required to take drawn panels and make them come to life with the use of dynamic lighting, depth with linework and shading, and add texture which may be lacking in the pencils. This important facet of comics is often overlooked and taken for granted.

The best inkers have the ability to determine how to make the important elements on the page ‘pop‘ and improve the linework. Inkers determine light sources, create convincing contrasts with shadow and light, and help separate visual planes to create a sense of depth. Without this step, comics may appear flat and lifeless – the right combination of ink can change the atmosphere of the story. Here are some examples of inked panels:

With the dark contrast areas in this Batman-Spiderman pinup, you can see the musculature and definition of both heroes, the folds and dynamic shape Batman’s cape takes on, and the rugged texture of the rooftops. The silhouettes of the city skyline also add to the dramatic nature of this panel. You wouldn’t achieve the same effect with pencils alone – therefore, inking serves as a key tool in developing scenes and defining shapes in your artwork. Even though they have been clearly laid out within the pencils, the ink gives the image a deeper, moodier appearance.

In order to be a successful inker, you must have a good working relationship with your penciller – as you are drawing overtop of their work and their vision. Make sure you’re on the same page (pardon the pun) when you’re working on a project together. There have been many documented occasions where a penciller will refuse to work with an inker over ruined work.

Secondly, make sure you know how to draw comics just as well as your penciller – if not, better. Understanding the physics and properties of light and shadow, anatomy and mastering the techniques of brush + ink, marker rendering, or pen work is abslutely vital in becoming a successful inker. You may also be called upon to fill in for a penciller who is behind on his work – where you are filling in details, adding texture and in some cases drawing complete panels from roughed in sketches. Trying to maintain a consistent style with your penciller is extremely important.

Here’s a few techniques to improve your inking when you’re learning how to draw comics:

1) Variable Line Width
This is the method of establishing form and creating some depth in your work.

Objects in the foreground should have thicker, darker outlines than ones in the distance. Your natural inclination is to look at the boldest, darkest item on the panel – so if your most important element is in the foreground, make sure it is outlined and detailed better than something behind it. A thicker line creates the perception of heavier weight and fuller form, whereas a thinner line recedes into the background.

2) Determine Light Source
Take a few seconds and create a point of reference for your light source.

It could be a simple symbol or a dot on your page (in the margin) to indicate where your light will be coming from. This will help you figure out which portions of your inked work will be cast in shadow. Remember to be consistent with your shadow placement in your panel, and from panel to panel as well.

3) Adding Washes and Hatching

A wash is a thin, diluted application of ink which creates a grey tone in the background. By building layers of wash, you can create different levels of contrasting greys, which do not detract from the solid black linework put into place.

Some artists use cross hatching as a method of creating shadows. A loose hatch appears more like a grey tone when viewed from afar, and also adds texture to your drawn elements. The downside of cross hatching is a rougher appearance – this may not be suitable for some artwork (superhero comics especially – which rely on clean, solid form). As you learn to draw comics, you’ll develop a signature style over time. Make sure your style works for your penciler.

4) Scratches, Dabs, and Erasing
To create some textural effects in your inked work, you can use an ex-acto knife or a dried out pen nib to scratch away and some of your solid pools of black to create some interesting scratchy textures, stone, masonry or woodgrains.

Using a molded putty style eraser creates soft, leathery textures by picking up dabs of ink and leaving behind some grey spatters. If you apply the eraser and different points by dabbing, you will create a blotchy, blobby texture that is an interesting effect for backgrounds or softer elements in your work. The dab technique also works with washes as well – use a brush with some watered down ink, and try blotting on the panel at different stages of wetness/dryness. You will create some cool looking patterns.

Once you’ve rendered your panels in pencil, try out some of these inking techniques (most of these can all be applied to digital work as well). Experiment and develop an inking style that suits your pencil work. Will it be slick and clean like the major houses (Marvel, DC, Image) or feature loose, scratchy effects with more grit, found in indie comics? If you’re working with a partner, make sure your styles complement one another, but don’t be afraid to offer your input – inking is not just tracing! For more tips, check out this previous post on simple digital inking techniques.

This concludes our latest installment on how to draw comics – stay tuned for more tips from idrawdigital.

A good comic book layout can capture a reader’s attention and keep them focused on your content. If your composition is poor and allows the viewer to exit your page, you haven’t mastered the art of leading people on through your layout. Here’s a few ways to improve your composition and page layout, and keep your readers interested by maintaining their eye on your work and dialogue.

The Grid

The earliest comics were always set up in a grid format, contained within white gutters (borders) and followed the logical Western method of reading – across from left to right + down to the next level & repeat. In this example from Jack Kirby, you see Captain America and Batroc the Leaper battling it out over a 9 square grid page layout, which reads very easily. The red arrows were added to illustrate the reader movement.

As comics grew in popularity and the talent level increased, artists injected their creative influences and began to produce layouts that did not necessarily conform to a grid format. While absolutely stunning to look at, these pages were a logical disaster if they weren’t planned properly. In order to keep the flow of the story intact, there are a number of grids that can be used throughout your comic to moderate pace, as well as allowing for eye-catching imagery.

The most common grids are the 9 and 6 panel grids. In a 20-24 page issue, the 9 panel grid is most useful when the story contains a lot of information that needs to be conveyed. Alan Moore and Dave Gibbons did this effectively in The Watchmen series. The sample below is another 9 panel layout that splits two scenes going on at the exact same time, and creates an interesting visual effect.

Here is a standard 6 panel grid from the old newsprint/pulp style comics of the 60s-70s. The grid offers enough room for dialogue, action and visuals. This is a traditional layout for comics, and the most commonly used – even to this day.

In sharp contrast to the traditional linear aligned storytelling method, here is a sample of a manga influenced comic book page layout. Note, the grid is skewed to create a feeling of motion and adds a sense of dynamic action – the reader’s eye is forced about from one end to the other at a high rate of speed.

Yet another grid format which is gaining popularity is the widescreen panel. This type of panel layout is used to create a cinematic feel. These longer panels also create the illusion of extended time.

Finally, a traditional ‘strip’ styled layout – 3 panels. This is most common for newspaper/online serials which use a wider format.

By establishing a grid for your page layouts, you can conform your artwork and continue to guide the reader along with the position/movement of your characters and backgrounds, as well as logical placement of speech bubbles.

Create a Point of Focus

Once you have established your grid, it is now time to determine where your main focal point for each panel will be. The standard in comics/webcomics is to place the focal point in certain areas to avoid visual confusion from one panel to the next. For example – a panel which is predominantly horizontal should have its focus in one of three locations – the center of the panel, left of center or right of center. For a vertical panel, the focal points should be center, slightly above center or slightly below center. The trickiest panel to set up a focal point is the square. You have the option of above, below, left and right of center, and the center itself. When placing a focal point in a square panel, plan accordingly – make sure it will lead your reader towards the next panel.

Here is an example (using Super Monkey no less!) of the placement of the focal point in each panel.

See how a silly and simple comic makes use of effective focal point location? This method draws the reader’s eye from left to right, and keeps the flow of the story going within the page layout.

Avoid at all costs: Do not have competing focal points in adjacent panels (creating a converging effect when viewed – drawn to the center of the page). Another pitfall in focal points – do not lead your reader’s focus out of the page bounds, or into a panel that does not follow the logical sequence of the story. Always have your artwork force the viewer towards the next panel (either subconsciously or blatantly) – do not rely on the reader to make a logical conclusion to go from one frame to the next. A poorly led panel causes bigger problems than you may think.

Poor composition within panels often disrupt a person’s natural reading flow and cause confusion.  The minute you disrupt the reader’s concentration and focus, you lose the element of immersion in the story, no matter how good that story is. Poor planning and vision of your visuals will negate all the hard work that is put into a script and storyline. You don’t want your writer to strangle you, now do you?

Lines of Sight – Backgrounds and Characters

The final tip I will elaborate on in comic page layout and composition are lines of sight. This is another simple method of forcing your reader to follow a direction using a subtle, subconscious prod. Here is a sample – read this page:

Now follow along with these subtly implied lines, using the character’s lines of sight, the guidance of character’s positions and movements, as well as visual cues from the background and the placement of speech bubbles.

Your eye was moving all over the place, yet it was contained within the page. This widescreen grid automatically forced you to move along the horizontal axis from left to right, and all the additional drawn elements moved you around dynamically, never leading you out of the page until the final frame, when Batman glares menacingly over his shoulder – directly at you (or in this case, THROUGH you).

This was all achieved using lines of sight, background cues, grid layout, speech bubble placement and focal points. If you keep to this strict method of creating comic panel layouts, and ensure your compositions within each individual panel lead into the next, you will have no problem maintaining a reader’s active interest in your story. Just make sure that the story is well written! For some tips on that, read my blog post on writing.

Try these helpful hints on your next project, and you will be well on your way to becoming a master visual storyteller.

You’ve seen them a million times, and in many circumstances, they have helped create that perfect touch to the setting within the comics you’re reading. Backgrounds seldom receive much attention, but are vital part of adding depth and mood to your comics. Here’s a few pointers on how to develop the right backgrounds and make your comics more realistic.

Seek Out Reference Material

I can’t stress this enough when you’re trying to develop a scene, use as much reference pictures as you can. Build the scene in your head and in roughs before you commit to putting it on paper. Some of the best reference pictures come from stock photography sites – they’re free to browse, and you can often save low-resolution ‘comp’ photos for your photo library. Here are a number of stock photo resources I’ve used for building backgrounds.

Getty Images
Fotolia
istockphoto

You can also rummage through Google’s image search option as well. The results aren’t always the greatest – but sometimes you can come up with user-based pics that can fit the bill better than a stock resource. Remember, don’t try to take these photos and repost them as your own – that isn’t cool – nor is it legal!

Draw Rough Sketches and Establish Perspective

Is the frame a birds-eye view or a street-level view? Do you require one, two or 3 point perspective to get your idea across? Where are your characters standing? Is this an establishing shot? Do details matter? Is the focus on the foreground or the background?

These are all questions you should be asking yourself prior to working out your composition. Having these all answered will make background drawings very easy. Sometimes, all it takes is a mere blend of colour or simple linework to get your point across. Other times, you need to have immense detail in order to build the mood or add depth to the story.

Establish where your horizon line is, and your focal points. From there, build your images according to the focal points – remember that the horizontal lines lead towards the focal points, and create a sense of depth. Practice this with photographs – determine where the focal points are, where the horizon line is, and how the lines in structures and objects all lead to the focal points to create depth.

Kevin Hulsey has a great primer on perspective drawing here.

Simplified, or extremely detailed… the choice is yours – and its dependent on what mood you’re trying to evoke. The important part is to plan it out first.

It’s all in the details…

As mentioned before – perhaps your comic relies on a lot of details in the backgrounds to increase realism, or it is important to advancing your story – or maybe you don’t require as much emphasis on details, and simply use backgrounds to give the viewer a hint of the setting, and allow them the imagination to fill in the blanks on their own. Depending on your style or inclination, background detail is important.

Every leaf, every lily pad, and every blade of grass has its purpose. Its a visual stimulus and the way to establish an exact location and a moment in time.

Fantasy art often relies on intricate backgrounds in order to visually demonstrate the differences between the ‘fantasy land’ and the land we are accustomed to seeing. This detail is necessary to help immerse the viewer into the world that the artist has envisioned.

In these two frames from Kapow Express by Xia Taptara of idrawgirls fame, you can see the simplicity of the backgrounds. Its the interior of a noodle house – with some characters milling about in the background – but as you can see, its merely some blends of soft tones and some hazy silhouettes behind the main character. The emphasis is all up front, yet the feeling of being in a dark, seedy environment is achieved.

The Final Rendering After your Composition

With colour and inks, your background can take a new life of its own and set a dramatic stage for your story – in this pin-up of Captain America – the rooftops are clearly rendered and the details of the buildings are quite intricate – window panes with reflections, dilapidated planks on the wooden water towers, concrete bricks with mortar in the spaces – these elements all add to the overall piece and visually guide the viewer along. With colour and ink work, the background comes alive and enhances the mood – even though its a subtle, drab and dreary shade of grey/blue… We can sense that is probably dusk or close to a night-time hour. We know we’re in a big city (possibly New York) and there is a general feeling of foreboding and mystery. The viewer receives all this information from looking at ONE panel with no descriptive text. Just a super hero hopping across a series of rooftops.

The background is what completes the story here.

In stark comparison, here is Captain America again, running towards the viewer with a look of urgency on his face. If you look at the image overall, it is quite powerful – there is a feeling of strength and intensity. This is due to the emanating action lines and a red wash tone applied to the background. Simple, yet extremely effective at building a mood.

Now if you eliminated both of those backgrounds, all you would have is Captain America running towards you – but add in those backgrounds and their subtleties, and there are two totally different moods achieved. Backgrounds are absolutely essential in trying to build momentum in a story, or establish location, feeling and general ambiance.

Think carefully as you are plotting your comic – make sure you pay attention to the importance of a solid background image or color/linework. It can make or break your overall presentation.

Last month I posted a number of links to some great webcomics out there. This month I’ve returned with a number of new gems for your collection. Feel free to check some of these out.

The Retriever by Daniel Fu

Strange Case by Noelle Drewe

The Talos Project by Giorgos Chronopolous

Cealdian by Anne Szalba

Edge the Devil Hunter by Sam Romero

Gravity by Bryan Ibeas

Dark Wings by Ashley Ann Merrill

Red Kelso by Gary Chaloner

Battlegate by Chris Moujaes

The Phoenix Sage Saga by Joseph Sotomayor

Freak Angels by Warren Ellis and Paul Duffield

Last Blood by Bobby Crosby, Chris Crosby and Owen Gieni

Have a peek at some of these great series. I’ve read through a number of them for inspiration and I try to check in on the updates as much as possible. You may find yourself hooked and trying to catch up on weeks of stories, taking up all your time – but there’s no better way to spend it than by enjoying these finely crafted webcomics.

If you have suggestions for webcomics you enjoy, drop me a line or leave some comments and I’ll review them for webcomics roundups in the future.

Webcomics can be the easiest and most cost effective method of spreading your stories to a large audience. The benefits are quite extensive – you have extremely low costs for operation, you have instant publishing features and a broader reach for potential readers. Producing comics online can prove to be a very successful endeavor, which pays off in nice dividends once you have established yourself as an artist/writer with a catalog of work in your portfolio.

But you have to start from somewhere, right? Here are a few tips to get you started on how to make a webcomic.

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Step One: Translate your ideas into a story, character, place or theme

You’ve come up with a great idea for a webcomic. Your first order of business should be to fire up your word processing software or grab a pen and a notepad and start jotting down al the scenes that are playing out in your head. It doesn’t matter if the scenes are out of sequence or brief flashes or if it is just an idea for some attire a character is wearing – make a note of it. If you spend too much time trying to establish the image and committing it to memory, you may lose the thought.

Once you have taken down the idea, you can arrange it into categories – scenes, characters, plot, theme. From there, you can mix and match components to create a bigger story or add depth to your current story idea. The most important thing to note is you MUST get it down on paper or in a file for reference.

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Step Two: Organize your elements and add details

Now that you have established a setting, some characters and a rough story or theme, organize your material to fill in the blanks. You should have a main character (or characters), a main setting, and a main theme established. You can develop more as you go along – but to begin, you should have all of your details worked out for your main elements first before you move on to the next step to make a webcomic.

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Step Three: Character Sketches

Before you jump into drawing your webcomic, you should familiarize yourself with your main character(s). Create numerous character sketches from all sorts of angles and actions. If you consistently draw your character numerous times, your character drawings will develop into repetitive action and you will draw your characters in the same consistent manner.

Many webcomic artists often struggle with a consistent look to their characters due to the lack of practice sketching and development of repetitive action. Of course, you can draw your figures and continue refining them, but the key is to make sure they are always consistent when drawn.

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Step Four: Write a script

A number of artists tend to jump right into their pages/strips without having a clear idea of where their comic may be headed. This works fine if you are simply doing random webcomics here and there, but it is difficult to establish any continuity for the future. You should have a plan.

The easiest and most efficient method of developing a script is through the use of point form. You don’t need an elaborate movie style script to develop your webcomics, but it does help. If you’re a one-man show, you may want to stick to 15-20 brief point form notes for each page as your guide. If you are anxious to get into drawing your webcomics, make sure that point form plan is in place.

If you have more time, consider extending the details in your script, and include dialog, pacing, and various visual cues/effects. A detailed script will help the artist visualize and render the artwork for the story properly.

Another tip – try to hammer out a script for at least 20 pages worth of your story. Once you have that many pages established, you can make edits ahead of time, rather than writing one page, drawing one page then repeating the process and trying to make it flow. You spend more time figuring out problems than producing the webcomic. Plan ahead, and you can modify things if they do not work to your satisfaction.

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Step Five:  Render your pages.

Another pitfall most webcomic artists encounter is a lack of updates once their site is up and running. If you have already generated a script for a story arc, try and render as many pages as you can prior to launching your website. Once the site is live and operational, you will already give yourself a bit of a head start if some unforeseen circumstance appears and you are unable to do your regular update.

My suggestion is to render a complete issue (roughly 20 pages) prior to launching your site. If you plan on doing weekly updates, this gives you 20 weeks of leeway and ample opportunity for script and drawing refinements. By having your pages in a ready-to-go status, you will also create the illusion of being dedicated (which you are) and a prolific artist (which you will become!)

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Step Six: Set up your website.

If you do not have a website or domain name, you should decide on creating a site that is easy to navigate and memorable for your readers. This step requires an yearly investment, but now that hosting packages and domain names are abundant, the prices are a mere fraction of what they were years ago.

For domain names, visit NameCheap: http://www.namecheap.com – You can obtain a domain name for less than $9 a year. With coupon codes, it could be even less.

For hosting, you can’t beat Host Gator: http://www.hostgator.com – Hosting packages start as low as $4.95 a month, and they offer great technical support and loads of features.

If you can afford a yearly investment of $70 to $100, you will have full control over your site and its development. There are a number of options you can pursue in building your site – WordPress allows for blog styled setups, or you could create a Flash-enhanced site, or a simple HTML setup. The possibilities are endless.

For those on a tighter budget, you can try free alternatives for webcomics hosting such as:

SmackJeeves

Comic Fury

The Webcomic List

Drunk Duck

Comic Genesis (KeenSpot)

Comic Dish

Some of these hosting services require memberships and linkbacks to the main site, and ad banners placed in prominent areas of your pages. The upside is the support you receive from other contributors, as well as some pre-made templates to get you up and running quickly.

Your site can also double as your portfolio!

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John Giang

Step Seven: Launch and Promote

Many artists worry about readers and statistics right off the bat. With any new website that appears, it takes time before the masses stumble upon it and pass it on to their friends. Therefore, it is very important during your quest to make a webcomic to continually update and provide new content to your readers. Over time the content you have produced will continue to draw in newer visitors passively.

In order to get readers interested in your site, you will need to do some active promotion.  The easiest way is to make allies and friends within like-minded communities on the web. If you are producing a sci-fi webcomic, then target the fans of sci-fi webcomics. Seek out communities and online forums, and contribute in their discussions and be a part of their community – once they see that you have valuable input and commentary to add, you can ask for their feedback on your project and have them visit your site.

A large portion of startup traffic comes from the cultivation of relationships with groups. If you do not have the benefit of a group to get you started, you will have to do some work in order to gain the respect of your peers. Be engaged in your targets interests and discussions. Support their projects and in time, they will reciprocate. Comment on blogs, give positive encouragement, jump into discussions and make friends – its the equivalent of networking in the first person. This activity is absolutely vital to expanding your reader base when you are just starting out.

Once people come to your site and experience what you have to offer, their word of mouth advertising will work for you and offer huge returns.

The key is to be patient, and not rush headlong into it. Avoid the common mistakes when you’re learning how to make webcomics, and you will become successful and ‘internet famous.’ Popular webcomics such as Penny Arcade, the Order of the Stick, xkcd, Applegeeks and countless others all started with a handful of readers. As the years passed, and based on the creators involvement with their readers, the comics and the site grew in popularity and referrals. Some of the artists have been able to make an honest living through their site, as well as additional side projects related to the webcomic.

You too can achieve that success with some careful planning and passion. Don’t ever quit when you feel it is hopeless – it’s a labour of love that pays off with perseverance. During your journey to become a successful webcomic artist, always remember this phrase: Those who quit following their dreams will never know how close they came to success.

Good luck!

Awhile back I mentioned that some changes will be coming to idrawdigital in the next few months – this post is one of a series demonstrating the shift in thinking this blog will now take. I’m planning on focusing more on illustration around webcomics, with more tutorials geared towards digital art in that genre. I’ve already posted two brief  tutorials on inking and coloring for comics. Have no fear – the TWILL updates will still occur, as they provide a source of inspiration and ideas for many of the regular readers.I’ve just decided

This week I’m going to showcase some of the wonderful webcomic finds that I regularly check out. You may have heard of some of these already – if not, I highly recommend you check them out.

NYC2123 by Paco & Chad Allen

Outside the Box by Brendan Cahill

Inverloch by Sarah Ellerton

Paper Eleven by Dan Kim

Zombie Hunter by H. Rockefeller

The Circle Weave by Indigo Kelleigh

Elsie Hooper by Bob Krzykowski

REX by Danijel Zezelj

Wazabu by Fuschia and Head

Dark Dallas by Heronime and Robinson

Two Rooks by Alice Fox

There’s a small helping of some interesting webcomic/graphic novels available online for your viewing pleasure. I’ll be posting some more in the coming weeks to expose you to some of the finest looking art and wonderfully crafted storylines. These are a few of the webcomics I’ve read, and believe me – there are a ton of them out there! There is a wide cross-section of genres available – space, sci-fi, fantasy, noir, gamerz, comedy, slice of life, drama, etc – you name it, there’s probably a webcomic for it.

I’d like to take this opportunity to introduce the blog of a friend of mine. He is currently in the midst of writing a series that will one day go to print. Please visit and give your support to Darren Hammond over at the PanicAttak blog. With enough encouragement, he’ll press forward with all the amazing ideas he has stewing in that weird head of his. Go forth and command him to produce for you!

Keep checking back for more changes to idrawdigital! See you next time.

- Drezz