I’m actually just getting over a nasty headcold that I managed to catch last weekend. It’s been a while since I’ve gotten really sick, but I’m getting back to normal now. Also, of course, my computer is back up and better than ever with TWO monitors to work and play on. [:
I have started posting the Modern Grimm to http://moderngrimm.abriarrose.com/, ideally to be updated weekly on Fridays. Still need to pretty up the site some from the template I’m using. I’ll work on it eventually. Anyway, I would like to update twice a week, but it depends on my course workload throughout the semester. If I am able to update more often, keep an eye on the Modern Grimm twitter for new page alerts.
To tide you over until I can post more pages, here is the process video for the cover of The Frog Prince — Enjoy!
So I’m THIS close to saying “screw it” and just use the font as it currently is, making changes to it later so I can start working on the second font I want done. Kerning for DAYS. x.x (Most of the English letter and symbol spacing is already done, I just need to finish the lowercase-to-lowercase spacing to make it usable for English.)
So while I am working on the fonts, I have started the sketching/thumbnailing process for the first story:
Generally, thumbnailing is the process of setting up the basic layout of the image on a smaller scale, before working on an image at a large scale. In the case of comics, it also is getting the layout of the panels as well as individual compositions. I do thumbnailing on printer paper cut in half, or scratch sheets pads of about a quarter-size. By doing this at a smaller size, it forces me to work on composition rather than detail. Additionally, I can layout all the pages to look at them all at once to make sure that they are relatively unique and that page layouts are not constantly being repeated within a certain range. Once I start doing more detailed work on the computer, poses will be refined to be clearer or more dynamic (where it makes sense), panel shapes will change, and some panels will even be shuffled around, added, or removed.
This process also allows me to make further notes for research, detail editing, and overall composition. For example, on the second page in the second image, I have notes for moving/resizing the frogs in the first panel, the sky shot to be day fading into night, and lighting notes further down the page. I also have my [initial] dialogue and balloons laid out, which are subject to change for clarity, brevity, or ease of reading. There are research notes, such as where I need to create/find reference images (the very first page, for the lime/linden tree as well as the pose), and what additional references I should find to complete rendering (dress, setting objects, etc.).
I will say, though thumbnailing is tedious in its own way, it’s also probably my favorite part of the process. It’s where the story gets its first breath of life, and the characters are really humanized for the first time, rather than just being descriptions on paper or notes on sketches. Their personalities come through in both actions and interactions, besides their individual appearances. It’s also the first time a world is explored, as far as where things are and the spaces the characters live within–another opportunity to show the personality (and even backgrounds) of the characters. While the reader gets to (usually) only experience the final rendering of these worlds, as an author/artist, I get to watch them grow and develop from the initial concept to the well-known.