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SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE

I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.

My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.

I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.

If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).

Roughly… the steps to making your comic is

WRITE

PLAN THUMBNAILS

DRAW

…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:

How does it end?

Does the protag succeed or fail?

What is the turning point of their story?

What the protag do that led them there?

Where does it start?

Who is this protag?

EXAMPLE:

Guy gets mauled by a bear.

This is a fail on the guy’s half.

The bear must eat something or he’ll starve to death.

It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.

The guy is yodeling in an avalanche zone.

The guy is some guy.

CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.

This guy yodels.

Echoes roll.

Snow slides down.

Avalanche buries the mountain.

Cabins are engulfed.

This bear has no access to cabin food and garbage.

Bear eats this guy.

Expand. Blow up important beats for emphasis. Keep less important beats brief.

This guy is hiking in the snowy mountains.

He comes across an avalanche warning sign.

There is nobody around but him.

A dumb expression forms over his face and he yodels.

Echoes roll but nothing nearby is moved.

At the top of the mountain the snow drifts twitch.

Guy, satisfied, hikes away from there still yodeling.

Frozen snow cracks.

Snow puffs billow and great slabs of ice crash down the mountain side.

Guy sees this and hightails it to safer ground.

Animals, people, are all panicking and getting pushed over by the rushing snow.

Cabins are destroyed.

The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.

Avalanche dies down.

A lone bear shambles over from the other side of the mountain.

The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.

Bear forlornly eats a food wrapper.

Bear tries to dig.

Guy comes down from the rocks he as climbing and sees bear.

Bear stops digging and sees him.

Guy runs.

Bear chases him down.

Bear eats the guy.

BEAT SHEET COMPLETED!!!

After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.

Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.

Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.

Next is translating the beats to pages…

STRUCTURE OVERVIEW:

[1] point of entry, in media res, hero intro

[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation

[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)

[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”

[12] resolution/final end/cliffhanger

[front cover][interior] [interior][back cover]

——————–

My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.

remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.

———-

…DRAW IN THIS ORDER:

Page 12,

Page 6 and 7 (this is typically one large image that takes up the space of two pages),

Page 1,

and then the rest.

ONLY “DEVIATION” ALLOWED:

Page 12 and 1*

Page 6 and 7,

and then the rest.

*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.

Cover is dead last.

———-

(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)

——————–

FURTHER NOTES:

Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.

You at most only need one establishing panel of the setting and environment (scene) per page.

Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.

You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.

Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)

Know your light sources. Control the blacks. Control the values.

TIPS | COFFEE? :3 | dA | IG |  ♡ |  ❤ |  ⋆

“Notes on skirts and pants”

for environments:

shot deck is a massive database of film shots searchable by grading, tod, shot type, characters and content! Studying from films really helps improve your values and composition as the shots are usually very carefully constructed! It helps you find ways to maintain realism while still packing mood and narrative into your work!

master paintings! I recommend the orientalists like Jean Leon Gerome in particular their environments had great compositions and throw around a ton of colour and light! I like the modern artists Craig Mullins and Richard Schmid also, as there is so much impressionist lost detail and simplicity yet the environments feel so real.

The 1960s era disney background artists like eyvind earle are a masterclass in stylisation and simplification and make a wonderful choice for studies. (That being said modern disney visdev artists like Nathan Fowkes are just as fantastic to study for the same reason)

architectural photography can be a great resource too- I love to look for work by urbEX people!

thumbnailing and comp studies- trying to break down a photo into as few values as possible and still have it be readable- this really helps train your brain in the relationship between light exposure and local value.

Im begging you if doing it in colour is too hard to start with just do it in black and white!!!!! Greyscale painting is an essential step in learning to paint and understand lighting scenarios!! Colour is hard!!!

there is no substitute for going outside and doing some plein air painting- really looking first hand at how the light effects different materials and objects, how it bounces around, what edges your eye naturally loses in certain lighting scenarios. Just go outside and draw and try to notice stuff.

for characters:

figure studies!!!! from life if you can but if you cant there are a ton of great resources out there- personally I love croquis cafe and posespace, but if you can afford it (and are interested in intense anatomy study) then scott eaton has a site called bodies in motion which is fantaaaastic. I think by now everyone knows nyx and senshistock, I also use a lot of grafit studio photorefs to study more complicated poses!!

Master studies (again). I particularly like to study the work of John Singer Sargent, Joaquin Sorolla, Edwin Austin Abbey, Alphonse Mucha (his le pater compositions are out of this world), any of the New Rochelle artists (e.g rockwell, tom lovell, those 1950s illustrators REALLY knew their shit).

I literally have a resin skull on my desk that I've used to do quick studies with different lighting, just 10 mins a day back when I was doing it and it levelled up my skill a lot!.

Material studies are essential to leveling up your character painting!!! Look at fur, look at metal, look at the way something embroidered reflects light vs tooled leather!!

gesture studies! Look at a dynamic pose and see how you can exaggerate the motion in away that captures the sense of movement. This is tricky to start with but its really worthwhile especially when you combine it with other exercises. Mixamo is a cool library to look into for this kind of thing as you can pause and rotate the models in the middle of their actions!

breakdown the work of artists you admire- it's ok to study other living artists (and try to reverse engineer how they are making their decisions) it's a very effective learning tool! Really figure out what it is about that persons workflow you like, and how you might incorporate that element into your own. Obviously, dont post studies of living artists work!

The most important thing is that when you do a study you go into it knowing what you want to learn. Dont try to do everything at once! It's ok to focus on the muscle structure and not give a damn about the gesture. It's ok to focus on the texture of the fur and completely ignore the characters face.

The best way to keep doing studies is to find refs you like- things you are interested in and that capture your imagination! Follow your curiosity and remember that just a tiny little bit a day makes a huge difference.

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