Comic Book Page Dimensions

May 11, 2011 1 comment

Hey all,

Once again, we’ve had more confusion as the measurements of the pages. Ty sez..

The actual size of the art is:

9.85 (or 9 and 7/8ths)  x 15 is the size of the area that gets printed…plus an extra quarter inch around the outside that MUST be drawn on, but will get trimmed off when printed.  The LIVE area, where the lettering must go, is in the inside of the printed area, is 9×13.5, but that 9×13.5 area is not to the full bleed.  

If you scan that size at 400 dpi, it fits perfectly into the template at 600 dpi.  


Sadly, since I do not Photoshop, I cannot attach the template. But Ty e-mailed it to all the artists a week ago or so.  See you all tonight!


Categories: Information

Polarized – Layouts

April 30, 2011 Leave a comment

Hey All.

We went over the magnificent Gibson Quarter’s pages for Sam Ruano’s “Polarized” in class and only small tweaks were required. But we neglected to post the digital copies!

So here they are in all their glory.

And here is a revised full layout for page seven with the savage love kiss between Elizabeth and a startled Edgar II! Gibson added some “Cat in Heat” action to the scene.

Is it getting here despite being at the frozen bottom of the Earth, or what?!

Gibson has started on pencils and they are looking lgorious. We’ll post more when they are done

But he has posted a tasty sneak preview on his website to wet our appetites!


As always, comments are encouraged.


Categories: Art, Thumbnails

The Old Man and the Sea Serpent Layouts – With Notes!

April 27, 2011 1 comment

Hello Watsonians! (Let’s give Elizabeth’s side of the family a little love this time around).

I’m a bad, bad assistant editor — so behind on posting.

But I’ve got a special surprise this time around though. Pierce is coming down the stretch and has approved layouts to share as he goes to pencils!

Ty sez:

I’m pretty good with all of it, but I want you to squeeze up the top panel on page seven, and give me a little more room for the bottom three panels, especially the last one with Igogpogo in the background.  You can’t short-change the very end of the story like that, not for a top panel that’s not important enough to the overall narrative as the last one is.  Sell me my ending a little more.

ALSO:  The “hologram” is coming apart mechanically.  Is it nano-bot instant building tech?  Or is it something mechanical in the story in the script?  I remember it as being a hologram last time I read it, but I have a poor memory, so educate me iffen I’m wrong, danke.  We’ll cover it in the dialog/captions if we have to.

There’s some terrific stuff in here, a tremendous fun read for these characters, and some HUGE larger-than-life action.  Fun.  – Ty

Ty’s fave panel is also mine, along with the beastie rising in front of the boat at the bottom of page 3!  Dino, Pierce and Ty all weighed on the hologram question…

The current iteration of the hologram is that it’s just a “regular” light hologram…so when it comes apart, it should just be shards of light coming apart…nothing solid. Does that make sense?  Does anyone have a better visual effect for Igopogo breaking through it? – Dino
Well, holograms are projected from a source, so wouldn’t it just interrupt the signal, like standing up in front of a film screen?  If you wish to break the image up into visual “shards” I’m fine with that, but it shouldn’t look quite so mechanical as it shatters… Ty

I like the shards of light effect suggestion. Kind of like when a prism breaks up light.  – Pinc
Ty makes an interesting point though…maybe the hologram could simple break apart…like when an image on a tv kind of dissapates (sp). Like interference or something. I’m totally open to different interpretations of how it could happen.  – D.

And so, with everyone having weighed the final choice we leave with the artist. Which is as it should be.

Run with it Pierce!


Categories: Uncategorized

Meeting Change – This week is the return of Industry Night!

April 26, 2011 Leave a comment

Hi Fellow Holmesians!

This just a reminder that Fit To Print won’t be meeting this week. instead, we invite everyone to convene for the return of Industry Night, now sponsored by the Toronto Cartoonist Workshop.
Sean’s announcement/invitation is below. As Ty said last week, a cartoonist also lives. So don’t be afraid to mix and mingle with your fellows.
Of course, that doesn’t mean work stops!  Pencils are due the following week. So keep drawing!
And please, artists, do check in with your writers, especially those who have been out of touch for more than a week.
Here are the details in the words of our Toronto Cartoonist Workshop master, Sean Menard!
Are you working in the fields of Comics, Animation, Illustration or Design? Introducing Toronto Cartoonists Workshop’s Industry Night @ The Monarch Tavern, an evening to socialize and network the last Wednesday of every month and just minutes away from our College street studio. Our first event takes place on Wednesday, April 27 at 8 pm. 
Evenings will usually include a short presentation on an upcoming TCW workshop and we’re delighted to announce that Leonard Kirk has agreed to kick things off with a short presentation on his Penciling and Inking: Level I workshop slated for May – spots for this workshop and others are still available. 

About the Monarch Tavern

The Monarch Tavern, located at 12 Clinton Street (south of College), is under new management and in the midst of a rebirth:–monarch-tavern-gets-new-owners-looking-for-new-chef
Categories: Communications

Safe! – Number 2’s Private Office and Final Layouts

April 26, 2011 Leave a comment

Hey one and all. As usual I am waaaay behind with posting. But here is some tasty work for Rae Wells, who has been a designing, drawing machine lately!

First up, A smashing look at Number Two’s private office – Mission Control for Holmes Inc.

I’ve also done up a partial (ie as much of it as I need for this story) proposal for #2’s private office design for where he actually works, as opposed to the presentation office where they meet with clients (which I always thought was old Edgar’s office anyway). It just didn’t seem natural to me to have the action from this story take place in the big fancy room, and besides, #2 needs his own space.  

It’s practical, but not utilitarian because that’s the way it seems like he would roll.There’s enough empty space for him to pace when he’s anxious, because that’s definitely in the gene pool, but I figure he keeps a lid on it until he’s behind a closed door. The furniture is a blend of antiques and high-tech: antique mahogany desk, filing drawers, and bookshelfs, but super-modern ergonomic chair and a wall of monitors. The screens are for both communications for mission control for the missions that need his personal attention, and computer monitors for research.

Our illustrious writer Aaron had this high praise for the office.

The office (like quite a few of the concepts you’ve already shown me) seems like it’s exactly as I imagined it as I was writing it, and yet at the same time is ten times better. Awesome, awesome stuff. I just looked at the drawing and started nodding to myself because I wouldn’t change a thing.

Next up. Rae’s final layouts with her thoughts.

OK here are some rough layouts, with breathing space and other tweaks added as per the notes from  the thumbnails. I know I still need to fix the perspective in a bunch of places. Clean layouts with accurate perspective grids are next on my to-draw list. See y’all later.

Dat’s what I’m talking about.  These are lovely.  

Off you go, get ’em constructed.   Really push yourself to feel the 3-d of the characters when you construct, too.  Use action figures, or reference photos, and make this the best you’ve ever done.  You’re in the zone with these layouts. – Ty

In class last week, we saw some of Rae’s construction and her persepctive grids were bang on. We also discussed the two versions of Liz’s final close-up on the last page. We agreed the tearful softer one was less effective than the cold stone faced Liz cutting off her emotions to do what she needed to do!

Way to go Rachael.  Onwards and upwards! 


Categories: Art, Design, Thumbnails

Trey – Model Sheet

April 26, 2011 Leave a comment

Hey there fellow Holmesians.

Got this fantastic contribution from Daniel to share with one and all!  A new model sheet for Trey!

While I was on the Holmesinc site looking for Trey references, I noticed there’s only one turn-around of her from last year.  I needed something a little more than just what was there, so I did up my own model sheet.  Perhaps it’ll be useful to others who will be drawing her as well? 

Fantastic reference, Daniel! – Pinc!

Categories: Art, Characters, Trey, Turn Arounds

Underwater – Final Thumbnails- With Notes!

April 19, 2011 Leave a comment

The plot thickens, fellow Holmesians.

And now it is time for me to officially let myself go public with the final thumbnails for Yolanda Cheung’s 5 page tale of pirates of the sea with surprising depth – Underwater!
So, here is Page 1 – pretty much as you saw in my early rough.

Page 2 – Panel on feeds into the mysterious black hole. this leads into a beauty shot of the lair as the figures swim toward the airlock.

As you can see, I added two inset panels for Edgar activating his wheelchair transformation. But I think the oddly shaped panels are too much with all the rest.

I think they’d work better stacked on top of one another with straight borders. Like the rough below.

Page 3 –  I took Ty’s notes into account to balance out everything.

I also considered slight adjustments to the panel 2 shape to contrast with panel three more and point to it better. As well, I am considering having a larger full-figure of Elizabeth stepping out of her dive gear to present a sleeker, ready for action look.  That panel would run into the bleed.

I quickly sketched below what I had in mind.

Page 4 – I toyed with a CU of Liz lifting and examining the sharp horrific instruments near the bloody dolphin and screens showing horrifying stuff. But the bubbles of body parts seemed like enough.

Liz reaches into her boot holster for a gun in the BG of Panel 5 ( I can’t believe I’m making myself draw a down shot). So we could lose the CU of her pulling the gun in Panel 6 if you think it’s not needed.  (Yup! I added more panels to spread out the action and dialogue!).

Page 5 –  In panel 1, I would probably turn Edgar to face left instead of right and make sure his wheelchair-suit wheels are on the same plane as Elizabeth’s feet.

In the right margin I sketched a potential alternate position for the dolphin in panel two.

Panel 3 may not need the dolphin fin as a pointer. The panel shape itself points to panel 4. It does add some support to Elizabeth’s decision but may be overkill.  Thoughts?

So, thumbnails done, Ty hit me with the comments. (He’s already told me he loved the first page and it was unchanged.)

Page 2 – Great instinct to solidify up those overlaid panels to the left.  They work, even with the staggered panel shapes, but they work better as a stack.  I’d probably toss a thicker outline around ’em, to really glue them together.

Another excellent page.  Don’t let it go to your head, but these are very hot layouts. (I’d be making a lot more notes if they weren’t…)

Page 3 – Though I know what you’re going for with the larger figure in panel 4 of page three in the re-draw, I’m actually leaning towards the first version (3, rather than 3-a) because you’ve got enough figure work to feel right on that page, and the slightly wider shot gives me more of a sense of the environment and where everyone is.

Page 4 – Another good page…I’m happy with the spread out dialog, but let me offer this.

You’re right, we don’t really need the close up of Liz pulling out the gun, especially if we see it in the previous panel.  But you’re right, we SHOULD get a look at Liz in close up, looking at a disemboweling knife.  Here’s a suggestion:   Move panel five over to take up the right side of that wide area, drop the image on panel six, and create a NEW panel five to the left of that area, with a close up of Liz looking at the gutting weapon. 

Here’s why…her close up is BEFORE we see the room, and we don’t get a close up of her AFTER she sees the room.  I’d rather see her reaction than her anticipation, and so would a reader.  So slide over that down shot of her pulling the gun (and push her figure a little more into the panel, so it’s not so peripheral to the action) and give me that reaction shot…perhaps with an instrument that’s still a little bloody.  THEN you’ve got something on the money.

ALSO:  If you read the pages in order, there’s no moment where Liz puts the gun away from page three…so I assumed it’s still out.  Why not simply leave it out, so that there’s that sense of minor menace from her (towards the doctor) on that page, and rather than pulling it out again, she levels it at him one more time towards the bottom of four?
And you needn’t be so coy with the damaged fish and dolphins in the shot.  We’re not DC or Marvel, and you can push the gore a wee bit more for shock effect.  Besides the fact that we live in the era of SAW IV, we’re MEANT to be shocked by this image.  Think like Wrightson, and imagine what he wouldn’t leave out…

Astoundingly good work, dude.  You’ve knocked me out, and I suspect, Yolanda as well.

And may I say… HOLY SHIT, these are great!   I’m not kidding, page 1, especially.  This is magnificent layout stuff, m’friend.   – Ty

In addition to Ty’s great suggestions and some of my own thoughts, I plan to to do the following.

Pg 2 – Panel 3 – I would move the Edgar figure and the man helping him to the right to take up more of centre frame.

Pg 4 – Thanks so much for the suggestion re. Liz’s reaction to the guts. I was missing that feeling of disgust.  I would proabbly change the down shot angle a little to show goryness around Edgar and Reggie as well.

Gore ain’t my strong suit but I’ll do my best!

I also think I may have made the bleed line my panel line on all these roughs but page five. My bad. 

Yolanda also had some very helpful notes:

This is way better than I imagined! Love it, can’t wait to see more!

Some notes (mainly for me):

There’s a bit of a jump in story between page 1 and 2, so having the pirates lower their guns in the last panel of page 1 might help. It shows they’re a little more hesitant about causing any harm. I’ll try to come up with a caption for the opening of page 2 to tie things together.

Page two is gorgeous! Old Edgar looks so badass. It might help to move the smaller side panels up a bit. For me, the panel of Edgar transforming is reading before the panel of him turning the dial.

On Page 3, the panel of Edgar gassing the pirate made me laugh out loud at work. This looks great! I’m going to try to slay some babies to give more space for art.

Page 4 will require more baby slaying on my part. The expressions are great! Thanks for making my excessive demand for panels not look cluttered.

On Page 5, I like the dolphin as you’ve drawn it in the main thumbnail, it opens up more space for Elizabeth’s expression.

That’s it from me for now, or else my boss will wonder why I have awesome comic thumbnails on my desktop instead of work.


And so, I move on to construction!

Cheers! – Pinc

Categories: Art, Thumbnails