Does this shirt make my butt look big?

francismanapul: hey folks Flash #3’s release is on the horizon,...

Tue, 15 Nov 2011 02:31:39 -0500

hey folks Flash #3’s release is on the horizon, due out November 23rd. Here is a behind the scenes process work.

-It all starts with a conversation over skype. Brian is in L.A and I’m in Toronto, but through skype we can work together as if we’re in the same room. In fact whenever I see him I feel weird saying goodbye cause I know I’ll see him again either later that day or the next day. hehe.. Anyways, Brian and I usually chat about the plot, and we also take advantage of the screen share option so that we can see what each other is working on. During this conversation, we’ll write down what we talked about and pass it back and forth.

-Once the plot is done I start with the layouts. We use layouts not just as images but almost another step in “writing” except with images. It helps us pace a story out properly so that we fully utilize the rhythmic beats you can accomplish with sequential storytelling. Sometimes it flows out really easily, but sometimes I stare at the screen, trying to think of what that first shot will be and how the sequence will unfold. As for the work itself I do these digitally, it’s just easier to see the whole image that way. I have a template that has 20 pages on it and I start with that.

-Step two is I start penciling the pages in. My pencils are fairly rough, but detailed enough that I know all the information. I do most of the rendering at my inking and water color stage.

-Once done penciling I move on to inking, and water colors. I work in black and white, but I then scan the pages in and tweak the color tones, so that they blend better with Brian’s colors.

-during this time period Brian and I go over the layouts for the entire book and discuss what the dialogue will be. We have a rough idea of what the subject of conversation will be during the plotting stage, but it really comes to life at the layout stage. It helps us keep the images and what’s said in synch and not have to be redundant in the image and textual information. We usually pass dialogue ideas back and forth in a .doc file and tweak and tweak. It’s more of a natural progression, we let it evolve along with the art as I come closer to finishing the pages.

-For page 2-3 in particular, I changed it from the original layout by adding credit panels. I was in the studio working and i didn’t like the idea of doing the credits in the gutters again (we did that already in issue 2) so I actually created panels that would have the credits. But what made it really work was when Marcus To suggested not just leaving the panels black with the credits but to draw close ups of the Flash. From there It clicked in my brain to give it a more “iconic” look rather than traditional drawing, which inspired those teaser ad’s that I created back then. Because I had a very clear vision of how I wanted the credits to look, I ended up just doing the credit text myself in Photoshop. I don’t have a lotta font’s but I wanted them simple anyways and I think it works since the text doesn’t take away from the spread by standing out too much.

And that’s pretty much it. From what you see up there is what I send over to Brian who then does his magic. If you’re interested in checking out the full colored preview along with the lettering check out ComicVine’s post about it. (Thanks for the kind words by the way!)

Also I just wanted to remind you folks to help out and donate on my Movember page

thanks for reading!

francismanapul: Green Lantern #4 Variant cover process. Pretty...

Tue, 15 Nov 2011 02:29:11 -0500

francismanapul:

Green Lantern #4 Variant cover process. Pretty standard process that I do as seen in my Flash cover process

I added a few cool paint splatter digitally just in case it didn’t work. I did this by using a scan of a page that just had ink splatter all over it. I then adjusted the colors on it and applied it on top of the finished art.

I also had other options for my editors to choose from, that had more red and blood splatter. We decided that the clean white background worked best.

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