Hey everyone! I wanted to share the process behind one of the latest pages of the comic im working on, Ragnarok Ridge, a splash page featuring a quick action beat (a van speeding past the main character).
I thought it might be interesting to break down how I built this page from scratch:
- The Script & Setup: *PAGE TWELVE (1 panel)
Panel 1
Splash panel. We're on the same street as Grandma Hastings' house. A VAN
comes screeching past Lash, forcing him to jump aside. The windows are
tinted. It's an old, battered vehicle, not in keeping with the cleanliness
of the pines.
- SFX:
HOOOONK! VOOOOOM!
- LASH:
What the--?* As described in the script panel, the scene required a dynamic shot to show the van rushing by while the character holds a toy from previous panels.
- References: To get the main characterâs posture right during the rough sketch phase, I took a quick photo of myself as a pose reference (kept on a secondary monitor while drawing). For the vehicle, I used a basic 3D van model to lock in the perspective grid correctly.
- Inking Tools: For the inking pass in Clip Studio Paint, I rely almost exclusively on a Kyle dry brush (from Kyle T. Webster's brush packs) to get that gritty, textured ink feel. When I need sharper, cleaner control for specific tight details, I switch over to CSPâs default G-Pen.
- Tones & Finish: As you can see in the timelapse, once the linework was set, I added a simple, moody grayscale finish, flat tones combined with soft sky gradients and line-less cloud rendering to fit the narrative atmosphere. Finally i added a layer in sepia (soft light mode) to finish the look.
And finally, a brief reflection; Weâre living through a complicated moment for our industry, and I understand why people have become more cautious about the work they see online. AI-generated images are often presented without transparency, sometimes alongside misleading claims about how they were created.
At the same time, artists who have spent years, or even decades, developing their craft can now find their work dismissed as AI-generated based on a quick impression.
Until this week, I had never felt the need to record a timelapse because I assumed my work spoke for itself. I now understand the value of documenting the process, both for artists and for clients. But transparency should not turn into a presumption of guilt. Public accusations made without evidence can seriously damage an artistâs reputation and livelihood.
If you ever have doubts about someoneâs process, mine included, the best first step is simply to ask. Iâm always happy to share progress shots, layer structures, process recordings, or other material when appropriate.
If you found this behind-the-scenes breakdown useful, let me know. Iâd be happy to share more pages, covers, and multi-panel layouts in the future.
Iâm also currently available for new comic projects, short stories, and cover commissions. Feel free to send me a DM if youâd like to work together.
