The crew of the Babylon is the last of the Space Exploration Force, a group tasked with surveying the unknown. Faced with dissolution, Captain Harlow has one last idea — try to find the lost ship Mesa.
Why I decided to redo my hand lettering with a font
As I have been wrapping up Lost Ship, I began to worry about the legibility of the lettering in the comic. My lettering has improved over the last year, but some of it is a little rocky.
So I decided to re-letter the comic with a font. It’s incredibly important to me that people can read the comic. While the lettering lost a bit of character in the move to being a font, I believe it’s a worthwhile change because it’s much easier to read.
Here’s another example:
It was easy enough to make the changes in Clip Studio Paint. I overlaid the hand lettering with a layer of white and then put the text objects over top. That way I can easily toggle off the font lettering if I need to for some reason.
I made the most of Comicraft‘s New Year sale where each font is the price of the year (e.g. $20.19) in preparation for this change. The font I’m using in Lost Ship above is Monologous. Also, Blambot is another great resource with plenty of generous licensing options.
I would like to continue to improve my lettering skills, but there’s also a significant part of me that wants to just commit to font lettering moving forward. Fixing typos and making adjustments to font lettering is so much easier. Regardless of what the future brings, I’m going to keep prioritizing legibility with my comics.
I’ve been working on Lost Ship for the last few months, and it’s nearly complete (woohoo!). It’s a sci-fi comic about a small crew that explores the unknown parts of the universe.
All that’s left to do is print the project and release it out into the world. Before that happens, I thought it’d be cool to share a bunch of concept art from the pre-production phases of the project.
At the time I started the project, I was really into drawing different ship designs, which is what led to the initial idea for the comic.
The final designs varied a little bit from those initial ships above.
Once the ship designs were set, I started to design the emblems of the organizations in the story. There are two main ones: the United Space Federation (U.S.F.), which is a governing body made up of the nations of Earth and the space colonies. The second organization is the Space Exploration Force (S.E.F.), which is a subsidiary of the U.S.F. that goes out into the unknown. But the Space Exploration Force is underfunded and on its last leg, with the scrappy crew of the Babylon being all that remains.
Finally, the character designs. Lost Ship has a primary cast of five characters, so I wanted to make sure each person is as distinct as possible so they’d be easily recognizable.
I wanted the uniform designs to be simple and clean. While there are no spacesuits in the comic, I did explore what they might look like too.
Harlow, the Babylon’s captain, had the most design iterations.
I introduced the cape to try to make Harlow’s uniform more visually distinct from the other crew members.
The rest of the crew didn’t get nearly as many design iterations as Harlow. Harlow is the one drawn in the most panels, so I wanted to get their look as right as possible.
Here is the character sheet I used as reference while drawing the comic. Even though the comic is grayscale, it’s fun to use color in the concept art to get a better sense of the characters and world.
There you have it! A bunch of the concept art from Lost Ship from the planning phases of the project. Even though the comic is pretty short at 26-pages, it helped me a bunch to explore and develop the characters and setting.
Thanks for checking out the concept art, and I’m looking forward to sharing more from Lost Ship as I wrap it up.
Trying a new step where I make a med-fi pencil mock-up after doing thumbnails
I’ve been working on a new 28-page comic called Lost Ship over the last two months, and it’s been enjoyable to work on a project that’s pretty small in scope. It’s about a small crew that explores space to try to discover new things.
I tried something new with Lost Ship where I made a medium-fidelity pencil version of the entire comic after I finished the thumbnails. I drew this version at the size I intend to print the comic at so that I could get a fell of how it read. It’s super cool to be able to page through it before the actual comic is done. This makes the process look like:
Create low-fidelity thumbnails to figure out the panel layouts and who is in each panel. The art is very blobby and rough at this stage.
Create a medium-fidelity mock-up of the comic. The art is still rough, but I try to make it somewhat clear what the camera angle, dialog, and other stuff in the panel will be.
Pencil and ink the full-size pages and then eventually clean them up.
So Step 2 is new for me, and it’s been a huge help with Step 3 because when I go to layout the page and draw each panel it’s a lot less of a mystery.
Here are some photos of the med-fi mock-up:
As you can see, the art is pretty rough. But that’s okay since it’s just for me (and you too now I guess 🤓). Here’s a mostly finished page for comparison:
I think I’ll continue with Step 2 as part of my process for future projects. It takes a bit of extra time, but it’s been worth it so far. I’m going to share more pre-production designs and sketches from Lost Ship soon. I’m aiming to publish the comic this December.
My art and thoughts from my second time participating in the month-long challenge
Hooray, I just finished the Inktober challenge this year. I drew a different illustration each day in ink based on the prompts provided by the challenge. I also made each illustration space themed since I’ve been working on a sci-fi comic.
Last year I didn’t follow the prompts which made it difficult to figure out what to illustration. I’m glad I stuck with ’em this year.
Here are some of my favorite illustrations from the challenge:
Finally, here are the prompts:
I had a blast adapting each prompt. Inktober was a fun way to start each day. Participating in Inktober again builds my confidence because I can pretty clearly see how I’ve grown as an artist since last year. I’ve still got a lot to learn, but I’m getting better and truly enjoying it.
I made this little comic called NINA over the last few weeks as a way to get back into drawing page-sized comics traditionally and experiment with some new tools. It’s inspired by Blade Runner and Tsutomu Nihei’s Blame!. It was drawn on 9″ x 12″ bristol with technical pens. I added tone in Clip Studio Paint. I hope you enjoy it.
How it’s been going and my aspirations for the next year, plus a collection of my art from the first year
I started making comics seriously a year ago in September 2017. It was an intentional change from exploring the world of filmmaking with the hopes of being able to tell visual stories entirely on my own. I can’t believe that a year has flown by. I’ve been enjoying the process of making comics and growing as an artist. It’s been slow going at times but ultimately rewarding.