#web developer process

[sparktechnologies]

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[archandshri]

28th June ‘24 - [arch] One Page Limitation??? - My process for Traffic Zine #5

Hello All!

A couple months ago, I got accepted to @trafficzine, a digital anthology of pieces by a large group of artists and writers based on the most recent season of the Life Series. I made this piece back in April, but thankfully I kept some notes of my process. 

Heads up - this contains spoilers for Secret Life :D

We were able to choose our own prompt from a list! For this project, I wanted to push my comic making - especially how to communicate a lot of information in a small space. I went through and watched a few clips from the series to see which prompt would fit a comic and settled on Scott’s death.

As usual, I began by getting some reference images and going ham on some big paper. This gets me excited about the project and helps generate ideas. I go for whatever interests me in terms of medium and subject matter, but I try to use a process that doesn’t let me control too much (in this case brush and ink)

initial sketches for fun and vibes :D

During this, I also took the time to transcribe the scene - I wanted to use the dialogue directly, and see how much I could fit into the single page that I was allowed for the zine.

In these early planning stages I make sure to do warm-up sketches to remind myself of the energy I want to communicate. This also keeps things fun and fresh so I'm not ONLY thinking about page composition and making things 'good'. (the expectation for it to be 'good' kills a project prove me wrong)

Dialogue from the clip + warm up sketches

Next up, I started to plan what panels I have on the page. At this stage, some panels might just be a box with some words, and some may have a sketch if I have a clear composition in mind. This stage is mostly for pacing and plot, so instead of focusing on what the panel and page will look like, I will think about:

what will happen in the panel

it's purpose and

what it will communicate

Sometimes I'll illustrate a string of panels that tell the story and fit them on a page after - but this depends on the project and my confidence with the size of it.

After messing around with these and coming up with a pretty clear direction, I draw a bunch of boxes to see how the panels could sit nicely together. At this stage I might realise I have too many panels, and need to cut a few or come up with a creative solution. Nothing is set in stone at this point.

sketching panel layouts

Now begins the fun! I decide on the layout I prefer and I can start putting planned compositions into the boxes. I often do this digitally, or a digital editing process will be involved.

Once planned, I print these out to do a more refined sketch over. I find that my traditional drawings have a lot more life and character to them than digital ones, so I try to keep the majority of the process traditional, with passes of scanning and digital editing.

I tried a version with her looking out at the distance - ready to face the oncoming battle. But it still felt off. So I turned to my slides to ask myself some questions!!

I tried to think of more things that were working - but I really felt like it was lacking a lot. I was going for this slower emotional feeling because that came more naturally to me, but it just wasn't working for this image. The original clip is quite rushed and chaotic - which would be harder to communicate in a comic format but the challenge interested me. Either way, I knew I wasn't happy with this direction so... i decided to start from scratch! Back to the drawing board!!!

In the previous version, I had cut out a lot of the dialogue, but I decided to go back to the original clip and use AS MUCH as possible. Since passing the bow was my favourite part of that first composition, I really wanted to lean into it as the emotional height and final goodbye before Scott's death. It's a moment to slow down and absorb the vibes :D

I made a list of panels along with their descriptions to refer to when trying to figure out the order of panels. there were SO MANY and it was VERY CONFUSING when they were too small to read.

These thumbnails were super small and would not have made sense without my list, I swear.

I printed this tiny thumbnail out at A4, so I could sketch over it and get a clearer sense of flow. Then began a loooong process of printing out tiny photocopies and rearranging the panels to be legible. It was a difficult balance of communicating busyness while making sure the hierarchy/reading order made sense.

After some tweaking, i printed out an A3 copy to draw my panel borders and text.

Doing this on a separate piece of paper means I don't have to worry so much about messing up the text or borders when drawing the characters. This allows me to be more free and expressive with my illustration.

Woah! Quick trip back in time!! During the thumbnailing process I drew these warm up sketches! I looooved the way the linework came out. I drew this on an A3 piece of paper - and the shocked Gem would, in theory, be one of the smallest panels. So I decided to do a crazy thing.

I touched up the sketch digitally, compiling some of my favourite warm up sketches, some traditional sketches made for the panels, and filling the rest in digitally. Then I printed this image out in QUATERS at A3!! This meant the final sketch layer, printed out was A1!! (aka very large, considering the final file would be at A4, about 8x smaller)

I did this so I could get fairly small detailed lines with my pencil while being quite expressive and firm with my mark-making. Slowly, I dlined all of the panels traditionally and scanned them in. Then I assembled the finished linework on Photoshop, along with the text and panel borders and got to colouring :D

final linework :D

For colouring, I played a little bit with halftone but I found the texture made it feel a bit too busy - the panels are already doing enough. Because of this, I also decided to use a limited colour palette. Here are some images of the colouring process, which I won't go into today.

I'm really happy with how this came out - I think it captures the chaos of the moment, while taking time to linger on the emotion of it. Keeping that bow moment really made it, I think.

I think the last panel is still quite weak. Earlier in the process there was a low-angle shot of Gem about to kill Scott which may have been more powerful, but I think I was struggling with my actual drawing skill when it comes to perspective. A lot of learning how to draw, and in particular with comics, is about knowing where your skills are at, how to utilise them best and how to test and push them.

I'm glad that I started again, instead of finishing that composition I wasn't happy with. It was a tough project but I learnt sooooo much from it, and it's been essential skill-building for.... the current comic I'm working on (stay tuned!!! :0) Thanks for reading this incredibly long post! Go check out @trafficzine and look at all the other cool art Cool vibes and silly men,

Archie :D

[surflessonscomics]

Surfing lit some kind of fire in me and I just want to GET GOOD AT IT ALREADY! It's so hard though, sometimes I don't feel like I'm making any progress. The list of things to work on only gets bigger and harder, and I get into my head about it.

I used to get into my head about my art too. Everything had to be amazing to matter. It has taken me a long time to understand that the journey of trying and failing over and over again is actually the point.

Few hobbies will kick your butt like surfing, physically and emotionally, especially if you start when you're 38 like I did. And making and sharing YOUR ART is incredibly vulnerable. But it's not about being great. Mostly, it's actually about having fun and making a life for yourself that is satisfying and full.

I'm super lucky that my husband is the patient type, who can watch me spin and then gently bring me back down to earth with just a hug.

So hug your somebody, get out of your head, and do your thing!

[tv-clown]

When me and my friends were deciding to do a web comic about our oc’s they all got the backstory; and all the design that looks amazing

Like, all this was inspired because I got a terrible brainroot again with dhims (don’t hug me I’m scared) and I was like “Hey, what if we do like a comic or video) and then, BOOM 💥

We’ve got all the material, all the things we could to start the most exciting project but class got us down, we didn’t have time SOOO it was like a thing that only the three of us know about

I’m still thinking to do it and I think they do too

A LITTLE OF THE CONTEXT(?)

The theme was going to be simple; people with certain unique characteristics live together in one place, the problem? The viewer will begin to notice that something is out of place, while of course, you see all the drama, comedy and certainly peculiar situations happen in front of your nose. But hey, there in the drawing above you have at least three characters; one missing but well, that’s what the comic web was for where different characters would be made known.

Madre De Dios, hi to anyone who took the time to read and if you are interested I would wanna know; to see if I can inspire my friends to continue with the project and bring it to life

[daryatalia]

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[jobyoda-philippines]

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[uiuxcafe]

Is your website accessible? (Beginners Guide)

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[nr1-logo-design-inspiration]

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[crowswarm]

see im of the opinion that you should never start shit you can't finish and that's why ill never write anything

[archandshri]

12 April ‘24 - [arch] Making a Comic in a Week, Disability and Burnout (all unrelated, of course!)

Hey Shri and folks!! LOVED seeing part three of the Lionheart Brothers cover. Stunning!! And awesome to see your process. Also cool to see what you’ve been looking at lately - I’ve just finished a rewatch of Firefly and the characters are still living in my brain a bit. 

Life is a bit relentless, huh. I’ve spent a lot of time and energy working on disability stuff - meal prepping, sorting silly government forms, all that sort of thing. Exhausting and super easy to burn out on - but also sets me up for the future in my personal life and for illustration! I want to discuss the balance of pushing and burnout this week with an excellent example - I tried foreshadowing to make a comic in a week. 

When I was in uni, it was easy to create cool stuff regularly - you’re constantly receiving prompts, doing activities, getting feedback etc. I still have access to these things, especially through my shared studio community, but it’s not as easy as it used to be. I miss creating finished books, in particular, so frequently. So! I challenged myself to make a comic in time for Something’s Fishy Zine Fair in Plymouth tomorrow, which was just over a week from when I started.

I had come up with the concept for the comic while travelling, written the script and done a couple of sketches. I often come up with concepts while travelling - I just don’t often follow through :P Here’s a couple of sketches I did on the journey.

I’ve been chatting to lots of people about what they enjoy about art - I’ve noticed that I tend to crave the end of the project and having the physical thing with high expectations of myself, which doesn’t lead to a very enjoyable process. Many people I’ve spoken to enjoy the ‘zone’, the focus of the project where you’re just figuring stuff out and not thinking about anything else. Bearing this in mind, I wanted to make the process as fun as possible - this comic is for fun and not for the purpose of having the thing at the end. 

I started with a few development sketches of the characters and the vibe. I used ink and my funky kakimori dip pen, plus some brushes. These mediums are hard to control, which makes them good for development for me - they don’t have to be good, this time is for gestural drawings and ideas generation. Some continued doodles in my sketchbook from some downtime :) Fish wouldn't leave my brain.

After a bit of character development, I began by adapting my script into pages - I read the script and try to feel the vibes on how I want to pace the comic, considering:

How much dialogue and plot do I want to put on one page?

Do I want it to be more text or image-heavy?

Do I want it to feel fast and snappy, or slow and dreamy?

Which parts of dialogue feel like a page-turner?

Are there any twists that should be separated from the rest of the scene by a page-turn?

Are there any moments that should sit next to each other on spreads?

You can see me changing some dialogue around, writing as I draw a bit. Also playing around with some weird looking fish?? With noses???

I got a bit stuck at this stage. I was scared my script wasn’t good enough. And worried about if I could even draw fish. After a couple of chats with art friends, and some rambling in my slides, I reminded myself that the lesson this time is fun!! Have fun goddamn it!! No point doing it if you’re not having fun. (it’s not like we make any money from riso printed zines anyway)

Screenshots from my slides - these things are wonderful for gathering inspiration and venting when you run into a problem with the project.

So I decided to just go for it. Not even thumbnail, but just take a scene and draw it. I asked a studio friend to choose a number, and I drew that scene.

Because of the chatty style of the comic, and how much dialogue there was gonna be, I knew there would have to be a LOT of panels. I decided to make it A4, and use a 8x6 grid. I’ll draw the images at A3, and than scale them down to A4 when it comes to printing.

left: A3 grid on the lightbox, for tracing over || Right: A4 grid with boxes of different sizes for me to reference while choosing the layout - this way I can see the final print size

First drafts of a couple of random pages from Moon Noodles.

The first day I drew several pages that I was really happy with! It gave me a lot more confidence in my script - seeing it come to life with the characters on the page - some pages even got some laughs which was nice. I would look at the page plan, script, and spend a few minutes thinking about the pacing and how I wanted the dialogue on the page, and the go straight in with the dip pen - with the awareness that it might be wrong. This process taught me an important lesson - you have to just do it. The thing is, if you do it and it’s bad, you just do it again but different. Repeat. Staring at that script thinking it wasn’t good enough wasn’t actually going to get anything done, be fun OR make nice stuff. You have to do the thing. Then you make it better.

The other thing I learnt from this process was to give it space. There was a day where I did one page, hated it and thought the pacing was off, and spent the next day trying to translate it into two pages. It didn’t work. I came back the next day and realised the first page I’d done was fine and just needed a couple of tweaks. Do the thing. Let it be.

Here’s a little picture of my setup.

(Sorry all of Printhaus for hoarding the light box and getting ink all over it :( love u)

Useful stuff!!!!

Finished pages to refer to, plus more A3 paper underneath for future pages

Laptop with script

Dip pen, ink and water for keeping that little guy clean!

development sketches for relevant scenes

Page plan (you can see I have shortened it considerably since last time - now it's 20-24 pages and noted on scraps of paper so I can move them around if there's any changes of plan)

A4 sheet with boxes to show the sizes of the final print

also scissors??? i don't remember why they're here

But then monday morning came. I realised that if I wanted to get it all printed by friday, I needed to:

Plan and 12 pages on Monday, and 12 on tuesday

Get the final files for every one of the 24 pages by Thursday 

Print friday morning

Travel down to devon Friday afternoon

Fair Saturday

Not only is that basically impossible, but it would be very bad for my health, make for a rushed comic, and most importantly, not be fun. The thing is, I’ve made whole comics in a couple days before. I figured I could still do it. But that’s not actually a good thing - my skills and taste have increased, I'm aiming for bigger, more ambitious projects and yet I expect the timelines to stay the same? It doesn’t exactly work like that now, does it?

But I kept going anyway. 

Tuesday morning, I decide to get the cover put together so I can get the preorder post-out. I get pulled into an unexpected meeting, and then spend the rest of the day inking this thing and getting the files sorted. At this point, I know for sure It’s not possible to get this done. Thankfully my two Printhaus besties were in. They helped me drop it. I love this comic, it feels fun and joyous and I’ve enjoyed working on it - lets not rush it and end up with a bad product that will bother me. Let’s take time, explore it and really enjoy the process!!!

All is not lost for Something’s Fishy Zine Fair, though! Originally, I had planned to do a print of the Moon Noodles Cover for preorders only, but why not print that for Something’s Fishy?? Anyone who buys the print will also get a discount code for the pre-order :D (also here’s the pre-order link)

So here’s a few images of the Moon Noodles cover print and the process!! I hope to see some of you at Something’s Fishy. It’s a joy to visit Plym again :D

Sketch printed out at A3, and 2 of the layers. I scanned these in and edited them on photoshop to get the files ready to print.

Coming to terms with the fact that 1) I don’t have illustration superpowers even if my expectations are that high and 2) I’m disabled (yes it’s been years and it’s still hard to face) is really hard!! I need to spend most of my time when I’m well preparing for when I’m not AND fight the urge to work until I burn out, which I always lean towards because it’s nice escapism. 

The thing is that living, and not being too exhausted to move is much more important than a comic. And if I am gonna spend my functioning time making comics, they’re gonna have to be enjoyable to make. Otherwise your life slips away from you and you haven’t been really living it.

Hope that hasn’t got too deep for you. I think that stuff is important to face, especially since the creative life is so incredibly busy.

Thank you for reading this goddamn essay, I hope that it helped in some way! As usual, feel free to drop an ask if you have any questions. 

Chat soon :D Archie <3

[fusiondigitechus]

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[atcuality1]

Revolutionize Your Receivables with Atcuality’s Collection Platform

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[jtwb768-babbles]

Lorem Ipsum Dolor Sit Amet

Lorem ipsum dolor sit amet. If this Latin-esque phrase looks familiar, it’s because it’s the traditional placeholder or “dummy” text used in typesetting and graphic design for previewing layouts. You may be surprised to learn, though, that it doesn’t actually mean anything. It’s a passage of scrambled Latin text; the intended purpose is to draw the brain away from reading the text itself, and…

[atcuality3]

Engineering Excellence into Every Digital Experience - Atcuality

Atcuality is at the forefront of software innovation, delivering customized solutions for businesses across industries. With a focus on functionality, security, and scalability, we design applications that adapt to your evolving business needs. Our projects span mobile apps, enterprise software, and integrated systems that bridge communication gaps and enhance productivity. A core part of our offerings includes our proprietary cash collection application, built to support field executives and finance teams in tracking, managing, and optimizing daily collections. It ensures data accuracy, enforces accountability, and provides real-time visibility into receivables. With features like GPS tracking, on-site digital receipts, and backend sync, it's a game-changer for businesses that deal with high-volume cash transactions. Partner with Atcuality to turn your digital vision into a robust, scalable reality.

[jelvixteam]

In this video we explore the challenges of legacy technology and provides a practical, phased guide to modernizing outdated applications. It highlights common issues like slow deployments, outdated frameworks, and security risks, while offering 18 best practices for successful modernization. The video includes a real-world case study of a logistics client and covers strategies like modular refactoring, CI/CD upgrades, infrastructure modernization, and risk mitigation techniques — all aimed at helping businesses innovate without disruption. #app #webdevelopment #techbusiness