Behind The Scenes Of TFTWP

I thought I'd share some aspects of how I put a recent page together. You can see the script here below. I start by printing out what Nathan sends me (which is his distillation of ideas that we've talked out or things he has a firm grasp on that will move the story forward.) I highlight the relevant parts of the script so that I can keep track of what I'm supposed to keep in mind for dialogue and description.


In this case I had some elaborate descriptions to work off of and some other panel descriptions that leave a lot of room for interpretation. You can compare the script with the thumbnail layout I did and then the finished page (here or seen below) that Nathan is working on (lettering as) I type this. It is also interesting to see how he will sometimes alter the interchanges based on things I've drawn or new ideas he has.


I've been trying to finish my pages really fast because I have a serious work load to catch up on but I don't want to neglect our beloved web strip. I've taken to using methods that I've seen Terry Dodson and Mike Mignola employ. One of those tools is the use of an establishing shot followed by several images that either only hint at or neglect the background when it is not necessary for telling the story. I rely on the mind of the reader to fill in the parameters of the location once I've given them the prompt.


This is a sketch of some possible banners for the revamped website. Nathan and I have been trying to do this for a while and with the approach of the Emerald City Comics Convention (where we'll both be in attendance) we have a concrete deadline for the launch. The only problem is that I have, literally, a dozen other White Pony related art projects to finish in the same time frame. This would all be in addition to the ongoing story (which is getting better and better; you guys just wait and see!)

I'm also drawing an 80 pg. Star Wars GN for Darkhorse (as I've mentioned before) so February is going to be one busy little month. Wish me luck friends!

Return Of The Thumbnails

I'm working on a Star Wars GN for Darkhorse and since my thumbnails don't reveal any dialogue or give any plot points away I'll post a couple here so you can see my process. I usually take a few minutes to look over the script, write down any specific reference I need and then sketch out my initial impression on printer paper.



The hardest part of comics is the problem solving; choosing the best framing, angles and panel size to clearly evoke the atmosphere that the writer intends. Storytelling isn't about how well you draw. It is about how you think.

My favorite comics artists consistently try to serve the script more than the vague notion of what the fans might want. My hopeful assumption is that fans respect a well crafted script and an artist who can bring that script to life in such a way that never leaves them feeling overly distracted by the flourish of the drawing. I am continually refining my approach to have a balance between allegiance to story and quietly compelling image-craft.

Plateaus and Launchpads.

I suppose there is a point in every creative endeavor where you look back, at all the work you've done, and you just want to quit and start from scratch because you've learned some new precept or series of clarifying ideas that suddenly color everything a grayer shade. Add watching the final two seasons of "The Wire" (the most brilliantly written show I've ever seen) to the mix and you have a recipe for a good portion of self doubt.


I had such a revelation/doubtfest recently and I can attribute the information influx to a couple of unrelated but mutually relevant (although disparate) sources:

The flawed (any scene featuring the weird misogynistic serial killer subplot) but brilliant (any of the clever academic analyzing) reviews of the catastrophically terrible 'Star Wars' Prequels:

The Phantom Menace

Attack Of the Clones

Revenge Of The Sith

Steve Lieber showed me this memo written by David Mamet to his staff of writers on "The Unit" about the difference between drama and information:

Mamet Makes It Clear

The good news is that after a bit of time away from the initial mind expansion and a few conversations with Nathan about the current state and future of our webcomic we now have an informed way forward. Many of my colleagues at Periscope Studio want me to scrap the project but I've always felt that it was better to admit to a lack of clear communication and see if you can redeem a situation rather than just walk away. It can be a good thing to recognize flaws in your own work/approach and turn that stagnant stage into a springboard.


I am somewhat intimidated but genuinely excited by the challenge ahead. Nathan and I both want to be the best storytellers we can be; that is an ongoing process with ups downs and uneasy middles. Stick with us and we'll do our best to reward that investment.