Hi! Wanna know how Crazy Sunshine is made? Well then, let’s make a comic!

Firstly, ideas. This notepad is where I write ideas and scripts. The chicken scratches and the panel numbers to the left is the dialogue, and the crudely drawn boxes with stick figures in them to the right are comic panels. Yeah, they totally are.

Once a “script” is finished and, if it is good enough, I open up Photoshop and lay out the panels. Some strips have only 4 panels, others can have up to 6 or 8! The comic’s width is always 800px (in order to fit on the site), so I work in a document with a width of 1600px and scale it down by 50% at the end.
I know, I really should make default templates, but having the freedom to put panels anywhere is pretty nice!

Moving on, text! Originally I wrote all the dialogue by hand, but as of September I have been typing it up instead. The font size is always 60px or 48px and is called CreativeBlock BB if you are interested.
Now to save the file, close Photoshop, and open up Paint Tool SAI!

Everything that isn’t a panel or text is created in SAI, even the speech bubbles pictured above. Sketches are always split into two layers; “BGSketch” with purple lines and “CharaSketch” with blue ones. I seem to work backwards on how I sketch, and always draw the full background out first, then the characters on top. Every time I erase the hidden background parts I tell myself I will never do it again but I never seem to listen. Idiot.

Once all the panels are sketched out I ink the visible backgrounds. For example, in this panel it is only part of the sofa you can see. I use a custom brush set at 8px and S-1 stability. I know, its cheating. But if I pay for a program I want to be able to use all of it’s features!

Next up, ink the characters. This part takes the most time. I am way to anal about how nice my lines should look, and during this stage I will always notice problems with the sketch or character positioning, which means lots and lots of tinkering. But! If I do it now, it means I don’t have to edit the sketch, inks, and colours later. So in a way, it kind of saves time.
Character outlines are then re-coloured to dark crimson, and background outlines change depending on the palette. Speaking of which…


Once we have a nice, inked comic, it’s time to add a splash of colour. thanks to SAI’s incredible Selection tool, this part takes the least amount of time! I use the book pictured above to pick out a colour palette for the backgrounds, and try to change it for each strip. There are a few reasons I do this;
- Each strip has their own separate “atmosphere”.
- No repetitive grays, blacks, or other boring colours.
- The characters, whose colours are always the same, stand our more and are easier to recognize.
- Personal practice with using different colours!
Here are some more examples of using different palettes before adding character colours:


The only drawback to this method is that I have to avoid palettes that conflict with existing character colours, such as yellows (Shelbie’s/Lacie’s hair), and peaches (skin).
Anyway, back on track, firstly I colour anything that is considered a “Wall” (skies, fields, roads, …walls) to a separate layer, underneath the inks. These “Walls” always have a gradient, usually radiating from the character who is speaking in order to draw attention to their face. Yeah. Bet you never noticed that before.

Next, all other background colours are slapped on a “BGColour” layer. Again, under the inks, but above the walls. This includes all objects that characters are not interacting with, and things like windows, doors, shelves, machinery etc.

Lastly, on the “CharacterColours” layer, well, you don’t need me to explain that, surely.
These colours are always flat. Why?
The reason is for certain panels to stand out and have a bigger effect on the reader than the other panels. I call these Shiny Panels, much like, say, shiny Pokemon cards. They are rare, special and attract attention.
So, every now and then a shiny panel will appear, usually near the end of the strip to emphasize a joke or express a character’s expression. For example, the last and second-last panel of the F.E.A.R.L.E.S.S strip added shadows and highlights to make the spider’s presence and flames much more dramatic. Another example can be seen below as the reader discovers Candy, who has balls of steel, might have some serious personal issues too:






Once everything looks good and in place, I save the file and open it up again in Photoshop once more. Here, I add another other special effects such as text shadows, overlays, strokes, etc. Then, I flatten the layers, resize the file to 800px in width, and then hit Save For Web, making sure that what you see is only the best.
…For now.
In my opinion, making comics is an adventure. This is the process I use at the moment, but I am always being inspired and being taught new tricks. Who knows what the comic’s style or layout will look like in 3 months, 6 months, or even a year! Look at how much the comic has changed already! Whatever happens, I will always try my best to make you smile. That’s my goal. You awesome readers are all the inspiration I need!
Thanks for reading, I hope you keep doing so! As for the strip used in this entry, check out the full version here!