What Should We Draw Episode 10
Things I learned after drawing 10 episodes
Published on
Intro
Pepper&Carrot webcomic reached the episode 10 concluding calendar month, with over l pages of comic published online. Equally you lot can probably guess, afterward over a yr of production, I tried many things in club to improve quality and way. I learned many things from my long 'trial and error' process. Now it's fourth dimension to share what I've learned. I don't know if this notes volition assist other webcomic creators : we are all so complex and different about the creation process! At to the lowest degree it secure myself to archive them down for at present, in instance I'll loose myself after in other long 'trial and mistake'.
1. Preproduction
a. Non Linear Storyboard, Concept-art and Scenario
A priori cognition is to think scenario come first then concept-art and storyboard follow. In my example, the three expanse often all come up together, nested, and dependent. It took me time to stop to exist blocked in front of a text-editor, and straight kickoff the episode with a pencil on newspaper.
b. Scenario : a Key idea
Reducing the scenario to a single key 'idea' or theme fabricated me win a lot of time. It's faster and more effective to build-up an episode around a single sentence or concept than rescuing the subconscious meaning of a large text. left : episode 10 key idea : "United we stand, divided we fall" and around the theme of "a big fish in a small-scale pond".
center : episode 3 key idea : "Procrastination" and all endeavour to avoid facing a borderline.
correct : episode 8 key idea : "friendship" and the stage of grief ( denial, anger, bargaining, depression and acceptance ). _
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c. Concept-art : Random thumbnails
This is a meditative practice, to do most of the time far from estimator or whatever notification monster. Just keep center airtight, and stop thinking, relax almost a ballpen and a A4 paper. In my case, I often got panels, or mini-parts of story appearing in my mind ( so I open eyes to draw them speedily ). It's something I ever trained when I was waiting for transport when I was younger, and it's merely an imagination exercise. This exercise build a precious source of material. 
d. Concept-art : amend them incrementally
The skeleton of the story is easier to write with generic elements at first : 'dragon', 'city', 'domicile', 'cave'...etc... Skipping descriptions with generic terms offering more room for storyboard and concept-art to inject back ideas. Detailing too much the writing affect the creative piece of work of concept-art and likewise of storyboarding. Case : on scenario of episode 3, I wrote the generic 'milk from a dragon'
left : During painting concept-fine art of the dragon, I started to design it as a 'dragoncow'.
right : This idea get picked dorsum and affected the speech-bubbling. 
e. Storyboard : not as well rendered, not too minimal
Storyboarding is the master product of my pre-product period. I tried many style for doing storyboards : minimal to total-rendered in colour. I adopt to describe them on paper ( thumbnails ) detailed enough to can read them. The small size constrain me to not overload the panel with element besides little to be read. I ofttimes storyboard the outset, the end, the centre (main scene) and so the parts in between. left: storyboard for episode half-dozen, not enough detailed ; I had to modify information technology during the product.
middle: storyboard for episode 8, thumbnails detailed optimal to read already, a strong showtime for product.
right : episode 3, too detailed ; full color speedpainting , digital. Planning also much alee is long and kills the pleasure during product. 
f. Storyboard : Ease reading for vertical scroll
Pepper&Carrot episodes are published on Internet. It implies scrolling vertically long pages to read the episodes. The scrolling action and nature of this large vertical folio changes the way to design storyboard. Complex layout seen in printed comics, BD and manga tin can appears more complex when all pages are sticked together. That's why I try now to continue the layout simple. 
g. Sketches : Acting/Repetition exercices
Complex scenes exists, and a skillful storyboard reveals them. That's a role of the storyboard's job :) Doing sketches before drawing the final page can avoid a lot of trial and error ( undo/erase ). Picture example : Pepper refrain herself to cries on episode 8, then breaks... I was very afraid of not being able to draw this scene. 
two. Production
a. Traditional : pencil line art
I adept for episode ii and 3 this technique. Sketching with blue pencil and lines with a pencil. After browse of the pages, blue sketches is removed to clean the lines. Information technology's popular amongst other comic artist, and I fabricated a lot of endeavour to adjust to it. I felt frustrated with it, and pleasure to describe vanished a bit with the constrain of existence too clean. 
b. Digital : cartoon on Cintiq
After the frustration on episode two and 3, I decided to use my Cintiq21UX from scratch for episode iv. The Cintiq precision is not expert compare to a pencil. I had to draw zooming in the page a lot. 
Even with a high zoom, it was difficult to be precise. So I decided to 'sketch a chip the lines'. I felt frustrated with information technology too, the Cintiq doesn't take a good ergonomy in general and it's hot.
The episode 5 , near 'winter holidays' was done with the 'pencil line art technique'.
c. Digital : cartoon with a tablet
On the outset of Episode 6, the Cintiq died in the middle of the long episode production. I wanted to try the Cintiq again with the new stabilizer of Krita. I had to finish the episode in tablet style. Inking with a tablet is non evident, merely the ratio of the Wacom Intuos3 A4 mapped too a 21,5inch 1080p screen was good enough to draw details. I could stop the episode, and was happy about this, only I wanted to alter everything.
d. Digital : going full painting over a digital sketch
Subsequently the painful episode 6, I decided to effort for episode 7 ,8 ( and even start of 9 ) another 100% digital method with my Intuos three A4. I kept digital sketches, painted under and detailed with a paint-over pass. The method is good and effective, but the rendering is a bit blury. Besides, digital sketching isn't pleasant to me on a tablet. I felt my moves very constrained. 
e. Digital : speedpainting then item
On episode 9, I decided to try something new. I tried to adapt a concept-art speedpainting technique to Pepper&Carrot. I thought the method would be super constructive merely information technology took me more fourth dimension, and the rendering was fifty-fifty more blurry. I've spent many sleepless night and injured my mitt to grab the borderline... 
f. Traditional : pencil sketch + digital painting
On the episode 10, I decided to solve many issues, and grouping what was working for me. Information technology was necessary after episode 9. In general, I have more pleasure to draw with pencils. It's more precise than any Cintiq or digital device, and I like precision. A drawing as well brings me a true feedback about my truthful skill. 'True skill' considering I can't deform, erase, undo, motility the limerick around. Information technology'south better for my training in general. With the experience of digital sketches from episode 7 and 8 , I understood I don't need to get make clean sketches. So, I tin sketch and draw the panel with letting the guidelines , crosshatching. It made my drawing time a more relaxing experience. 
About coloring with digital ( Krita ), I continue one layer under my pencil artwork to paint the full general ambiance of the panel.
Then when the global look is ok , I create a layer on the tiptop ( or flatten all ) and showtime pigment-over. I paint-over lines and areas. I piece of work apartment and go along the lines , but I manage them while painting. example : the same panel from episode ten , before pigment-over ( left ) and after ( right ). 
About the Gmic[colorize] filter, I yet apply it simply more to create a quick mask of a silhouette and carve up areas of my drawing. I rarely utilize it to color every tiny islands as I could do from episode 3 to episode half dozen. 
Determination
That'south all, thank you for reading. I hope this summary of my experiences over the production of the first 10 episodes of Pepper&Carrot will help you in your own process.
Source: https://www.davidrevoy.com/article265/things-i-learned-after-drawing-10-episodes
Posted by: simontonwitedingued.blogspot.com
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