How To Make a Webcomic
An article by SAW Instructor, Jess Ruliffson, going over a recent PRO-CALL we had with REIMENA YEE on how to make a webcomic.
“Hi, Friends!
Reimena Yee Recap:
At the top of the call, Tom gave a shout out to Reimena’s incredible media kit, which contains wonderful drawings, high res author photos to use for media - lots of great, terrific information:
You can buy Reimena’s books here: https://reimenayee.com/buybooks/
After a brief bit of personal background, Reimena gave a guided tour of the diverse world of webcomics! There were a few exercises where we read a few web comics together. She noted on the call that active consideration of the work as a reader and creator is useful as you hone your comics.
She pointed out that webcomics are rich, independent and have a lot of creative freedom compared to traditional publishing (free to read, can make fans and friends all over the world)!
She went over some basic terms and gave a brief history of web comics.
Then we read a few comics together!
Here are the web comic links she shared:
Where Reimena works: https://www.hiveworkscomics.com/
A web comics fest and also PDF-based webcomics subscription: www.shortboxcomicsfair.com
Webcomics that Reimena mentioned or we read together:
Reimena noted there has been some corporatization influencing web comics and how to read comics (formats), which she referred to as “algorithm poisoning.”
SAW student, Syne, mentioned the web format comic with vertical-scroll pages, by Boulet, Our Toyota Was Fantastic.
The first example of vertical scroll comics was a horror comic I was too chicken to click on until the next day, and it absolutely scared the heck out of me.
READER ADVISORY: don’t click if horror or “jumpscare” moments in vertical-scroll comics terrify you:
There was lots of good activity in the chat about the value of being able to control how fast one read/scrolls to read a comic versus a page-turning action in print comics (one isn’t superior to the other, but they are different in interesting ways!)
More comics links Reimena posted to the chat:
https://twitter.com/dorrismccomics/status/1588977604425457664
https://www.instagram.com/webcomic_name/?hl=en
https://www.instagram.com/chuckdrawsthings/
https://www.instagram.com/avocado_ibuprofen/?hl=en
A fun quote from Reimena describing the work of a fellow web cartoonist:
“A jaded artist trying to make work online while the world is on fire.”
https://alexanderromance.com/comic/chapter-one-021-022
Here was a link RY shared that has a mapping feature and was interactive—each element was clickable and took the reader to a new web comic/aspect of the narrative, a web comic called Margot’s Room. RY asked questions about why this creator would choose to present the story in this way, with a level of exploration:
http://www.emcarroll.com/comics/margot
This one made of animated GIFs (similar to the link Syne shared to Boulet’s comic, Our Toyota Was Fantastic)
https://thunderpaw.co/comic/ch1
https://reimenaashelyee.tumblr.com/grimsley2017
A right-scrolling comic, which mimics the layering and depth of a pop-up book! With some animated elements (I’ve seen something similar by Josh Cochran for the NYT, too)
For this one, RY asked: how does hover text versus text on the page function to tell a story? Maybe more akin to introspective atmosphere similar to a novel.
http://invisiblecities.comicgenesis.com/
Reimena’s talk then ventured into how web comics are influencing global visual culture on a commercial scale, being adapted into film, etc.
She also shared advice on how to make a webcomic, where to start, and how important it is to take care of your mind and body when producing so many comics. Reimena said:
“Ideally, art is supposed to be freeing.” Does the process give you satisfaction, have you learned something? RY also said, “absorbing other diverse media (stuff outside of comics) will help you improve and not get stale.”
“Just cut out steps--if it takes too long, use shortcuts! if you don't like a step, skip it!” and “There is no standard format and no limit - go with what feels right for the story and what feels usable/sustainable for editing story”
“Mari Kondo your process!”
She also talked about balancing LOTS of text to image (something I am up against nonstop in nonfiction comics!!) So this was really useful. "Your health is your career" RY said. “Make a backup plan for periods of time when your output is limited.” (If you have a regular publishing schedule, adjust it to fit what’s happening in your life).
Some other artists she mentioned: Cyril Pedrosa and Roxanna Moreil (hybrid of analog and digital mediums), Erica Eng, Atelier Santo, Mel Gillman, Dave McKean
At the end there was a Q and A. I didn’t capture RY’s full responses, but you can see the questions and skip ahead:
From Syne Mitchell: Can you talk a bit more about Hiveworks? What the heck is it?
From Susan Marks: Is there a place for an “experimental/indie” comics aggregator? As an older reader and creator with text-heavy text, zoom in feature is helpful - Tapas doesn't feel like "our comics" fit there - are there aggregates that capture a variety of experimental works?
From me and some others: How do webcomics make revenue?
From Andy Retana: What was your personal process of going from webcomics to printed books, was it first webcomics and THEN printed books? Also if you could talk about your experience negotiating the rights between webcomics/printed comics?
Bruce: he's been working on a comic book since 2004. He hasn't made a website but would like to make an map-based, world building type website he could use as a template? A recommendation?
Some links from Tom:
https://www.mapbox.com/solutions/interactive-storytelling
https://guides.library.duke.edu/webmapping/story
Lynn: My question is whether there are any webcomic platforms the specialized in nonfiction, politics, social issues and/or memoir?
Syne: what keeps RY creating work?
RY: comics, especially webcomics brutal. I like the thing that I am doing (very important) enjoying process as well as story.
Syne: How can you tell if your webcomic is working?
RY: I don't care about readership (I'm weird) there's no other place where I can make this thing I am passionate about. If I finish, I am successful - I did it-- it's good - it's a webcomic.
Maria’s question similar to Andy’s: Is it hard to go change a web comic into a physical printed book? I mean is it hard to turn a web comic into a physical printed comic?
Susan added: two good examples to look at are from Space Boy and LoreOlympus. Both WILDLY popular Webtoons and books.
RY: It is a RY: big mistake – if you don't prepare your art for print ( think about BLEED) when you're making a webcomic you don't have to consider DPI, page size, placement of panels, how dark ink is. In print, all these things are important. You need to move important images and text away from the edges in print or things will get cut off - web creators sometimes lose drawings that get cut off by mistake - try to format digital with this in mind. DONT FLATTEN YOUR LAYERS! NEVER. Keep text separate from art.
RY: Be mindful of the print safe area, bleed, margins (in a template) and be sure you’re working at the right DPI in CMYK (print) RGB is for digital (color)
Syne: recommends printing a mini comic from your webcomic to understand how to be fluent in both forms.
Happy Making!”
-Jess Ruliffson
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