Hey everybody!
Well, the first 30 page issue of "Reed Gunther and the Steak Snacking Snake" is done! The book turned out really fun and Shane and I were SO lucky to get Reed Gunther pin-ups by Guy Davis, Kassandra Heller, Bob Flynn, Andy Gabrysiak, Dave Chow, and Pascal Campion! (We'll be selling the issue at production cost and won't be making a cent but these artists were nice enough to lend us a hand out of the kindness of their hearts. Thanks guys!) Shane did a great job making the story a blast and a half as well. I'll be sure to post when the issue is available to buy online.
Seeing how I sent it off to the printers yesterday, I thought it'd be appropriate to share some process work of how I worked on completing each page. From what I've seen, it's pretty standard but I always like seeing process work so hopefully you do too. ;)
First, I read through Shane's script and laugh at all of his jokes (some of which he puts in the panel descriptions that only I will read! He says it makes reading a script a lot more fun and I agree.)
I jot down any notes I want to ask him later on the phone or through email and try to work out a page layout to the side. Even though these drawings are so rough (some of them looked like I held the pen to the paper and sneezed), I'm really thinking hard about things like composition, page flow, etc.

Because those "script thumbnails" are so rough. I redraw them on a separate piece of paper at the correct size ratio and further develop my compositions. This is also a great stage to work out my spot blacks and try to develop focal points and blah blah blah...

Now it's onto the actual page! I don't blow up my thumbnail but I do reference it to draw with "col-erase true blue" pencil on illustration board. The blue pencil is great because after inking, I can through the page on a scanner and scan it in at "Black and White," which will ignore any of my blue scribbles.
Also, I try to leave the pencils somewhat rough because I always need to remind myself, "All of these pencil lines will never be seen by the reader. Spend your time inking, idiot!" (I try not to call myself idiot too much, either).
I do however want the page to be readable since this is the stage I check in with Shane and let him know what I'm up to. This is also the stage where Shane calls me up from LA to scream, "What the heck did you do to my script?!" I kid! Shane always has great advice and in this particular case, we needed to revise a couple panels.

Inks! I whip out my #1 brush and ink that baby UP!
You can see the changes that had to be made. Without giving away too much story, we decided that the 2nd panel needed to be broken up and we also realized the cows shouldn't be mooooving (heh!). It'll make much more sense after you read the issue. ;)
We also decided to switch the camera view around 180ยบ on the 4th panel to give the sequence a little variety and to also distance the viewer from Reed for a little comedic moment.

Lastly, I scan the page (on the school's VERY nice 11 x 17 Epson scanner) and lay down some halftones. This acts as a nice buffer between the harsh black and white and helps to seperate certain elements in each panel a bit.
Also in this last stage, I add all the lettering (referencing Shane's script) and sound effects. Then it's onto the next page!

Be sure to check back soon! I'll post as soon as the issue is printed and available for purchase!