Last week I wrote about my general thoughts on why thumbnails are important. So now let’s talk a little about the specifics of how I make thumbnails…
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Some folks may see thumbnails as just rudimentary pencils, easy to skip over, and if that’s your method and it works, go for it. But I see them as design and essential. In thumbnails I’m capturing the broad strokes of the action, but also pacing, panel layout, dialog flow, etc.
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For Wuthering Heights, I set myself some rules that I haven't used before. One, a comic page should be no longer than a single sheet of paper in the script, a single speech-balloon of dialogue should be no longer than a single line in the script.
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One of the most important decisions to make about an adaptation is whether you want it to be a faithful retelling or spin out in wild directions. Other authors have different philosophies, but my aim is usually to tell the story differently, but to keep it recognizable.
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When bad news hits, it can be difficult to focus on anything else. The closer that bad news is to you, the more impossible it becomes to stay on target.
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I think I may have used a different thumbnail process for every work I’ve done. However, one thing they all have had in common is I’ve drawn them REALLY SMALL (think stamp-sized).
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Sometimes when it's dead quiet and you can hear that vague 60-cycle hum along with the static of the universe and think "Oh, yeah, that's kind of a bop."
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Really, ideas are everywhere. They are EVERYWHERE, spinning around the universe waiting to smack us in the brain and drive us crazy. They're so ubiquitous, in fact, that they kind of mean nothing at the same time that they are invaluable.
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