Creating Comics Panel by Panel
Freaks & Gods Page 10 by Chris Dreier
Clown Strike! I like the use of silhouettes in this panel. The fact the Clown is stretched out with a full punch really sells the actions. I think on these types of panels the contour lines or outlines should be kept thin. Of course line variation is always important—thicker lines for shadows and thinner lines for highlights.
Now that I think about it, I should create a post that explains that concept….hmmm? Stay tuned.
Poor Kid! I didn’t ink the sweat on Magno…just didn’t look right. I did fix his eyes a little bit. The design in the upper right was made by making different size and shape selections and using the Cross Hatching brush to fill them all at once. I like the look. Seems chaotic and stressed…which is what is happening in this part of the story.
Clown Strike Revisited! The pencils were perfect for this panel. I did try to create a sense of light at the point of impact. The lines on Magno’s fist are much thinner than the rest of his hand/arm. Also, the lines on the Clown’s face are as well. You can really feel it!
Wiping the blood from his face. I altered his eyes to give him a more “angry” stare. I thought he looked sort of worried in the pencils. The job of the inker is to embellish the pencils, make it better, make it pop and here is no difference.
If you look at the ruffles around his neck, you’ll see that I added some more feathering to help sell the shape and just a few little dashes and dots here or there which gives his clothing a dirty/dusty look.
Old wood floors. I made the costume he’s wearing look or at least feel more like clothing by using feathering to soften hard edges and longer sweeping lines. Plus I added the ruffles to his wrist.
The main addition was an old wood plank floor. As mentioned in page 09’s post (which was last week) I wanted this scene to take place in a rundown part of town…sort “seedy”. So the floor is just another little detail along the way that sells that to the reader.
Magno denied! Here we have Magno being pulled into the Dark Tunnel before he can help the kid. I started with his belt and logo (don’t know why) then onto the contours and black areas. Added the finer details and laid some tone in the cape. Same tone layer as the shadow on the wood flooring in part 04.
I usually ink the Dark Tunnel on a separate layer to change its color. The idea is the Tunnel is appearing and flashing with energy. Only a few times in Freaks & Gods has the Tunnel sat in one place long enough to be “normal color”—meaning inked with black.
May you and your family stay safe and healthy during these strange times. I really hope you are enjoying these posts as I create this Exclusive Comic for Freaks & Gods.
Keep making comics and we’ll see you next week!
Writer, Artist, Inker, Colorist
His career as an inker over the past twenty years had him working with Antarctic Press, Chaos Comics, AC Comics, Dark Horse Comics, Avatar Press, IDW, SkyStorm Studios, and Joe Books. Chris is currently working on his creator-own project Freaks & Gods.