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Perfect Guide to Smooth Transitions: Scripts to Comic Pages

Comic Artist, Miki Montllo‌
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Class Details

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ComicArtist,MikiMontllo Details

Intro

Class Intro
Comic Artist, Miki Montllo

"Find out how to turn your script ideas
into striking pages of comic book art."

Want to bring your stories to life?

Coloso Miki Montllo Perfect Guide to Smooth Transitions: Scripts to Comic Pages

Learn how to turn scripts into eye-catching comic pages
while keeping your originality:
from reading between the lines, and visualizing scenes,
to creating compelling characters and
dynamic backgrounds.

Class
Breakdown

Coloso Class Breakdown Details 1
Content

Length: 27 videos
(Duration 15h 42m)
Difficulty: Basic
Unlimited views

Coloso Class Breakdown Details 2
Video Details

Audio: English
Subtitles: English
(In Production)

Coloso Class Breakdown Details 3
Software Required

Photoshop

Coloso Class Breakdown Details 4
Perks

TBD (WIP files)

Expert Comic Artist
Miki Montllo's Profile & Portfolio

  • Coloso Miki Montllo Perfect Guide to Smooth Transitions: Scripts to Comic Pages
    Warship Jolly Roger Series
    Author: Sylvain Runberg
    Illustrator: Miki Montllo
  • Coloso Miki Montllo Perfect Guide to Smooth Transitions: Scripts to Comic Pages
    Providing for Humanity
    Original Text: Cixin Liu
    Adapted by: Sylvain Runberg
    Illustrator: Miki Montllo
  • Coloso Miki Montllo Perfect Guide to Smooth Transitions: Scripts to Comic Pages
    Diary of a Quarantine
    Author/Illustrator: Miki Montllo
Instructor

Miki Montllo
Comic Artist


Hello, my name is Miki Montlló,
and I am a Comic Artist living
in the mountains of Spain.

I started off my career as a concept artist,
designing backgrounds and characters
for games and animated movies.

Then in 2011, I decided to drop everything to pursue
my life-long dream of becoming a comic artist.
I now spend my days working on different comics
and collaborating with companies
such as Netflix and Blizzard.

With this class, I want to take all that I've learned
and use that knowledge
to provide you with in-depth insights
for turning your script into a comic.
That includes the key components
that you'll need to know if you're interested
in working on bigger projects.

Background Images
Coloso Miki Montllo
Comic Artist,
Miki Montllo

[Current]
Comic Artist at Netflix, Inc.

Recognizable
Projects & Awards

[Previous]
Comic Artist and Illustrator at EDitions Dargaud Lombard (Apr 2012- Nov 2020)
Comic Artist at Blizzard Entertainment (Nov - Dec 2016)
Concept Artist at Cartoon Saloon (May-Nov 2016)
Teacher at CGMA (Jul 2014- Jun 2016)
Background Artist at Axis Animation (Jun - Aug 2015)
Concept Artist at LAIKA (Sep- Nov 2014)
Concept Artist at Headless Animation (Jun- Jul 2014)
Background Artist at Revolution Software (Aug-May 2012)

Instagram

6 Class Exercises

  • Miki Montllo Class Exercises
    Storyboarding
  • Miki Montllo Class Exercises
    Character Design
  • Miki Montllo Class Exercises
    Transition: Storyboard to comic page
  • Miki Montllo Class Exercises
    References and Visualization
  • Miki Montllo Class Exercises
    Inking
  • Miki Montllo Class Exercises
    Coloring
  • Miki Montllo Class Exercises
    Extra Tools
Highlights

Class Highlights

Flip the Script

One of the key parts of comic art is transferring scripts into pages. To do so, you really need to understand the scripts. Using my knowledge as a professional comic artist, I will help you read between the lines, visualize the scenes, and turn them into comic pages.

Coloso Miki Montllo Introduction

Design Your Originals

As a comic artist, how can you distinguish your comic from others? It's all about how it looks. With all the concepts and stories in mind, you need to manage to keep your illustrations original. I will talk about how to design compelling characters and backgrounds that best describe their stories.

Coloso Miki Montllo Introduction

Keep Your Magic

I say you need a bit of magic to keep yourself focused when working on a comic. During the class, I will be sharing my experience working as a comic artist in the field. Beginner or not, it's always best to learn from others' experiences. If you want to work on a comic but you're feeling lost—don't worry, you're not alone.

Coloso Miki Montllo Introduction

Class Details
You'll Learn

  • Coloso Illustration Class Details
    Script Analysis
    We will read the provided scripts carefully together and analyze them to see which part would go into the storyboard. To give the correct pictures of the scenes, we must pick and choose which details we need to share.
  • Coloso Illustration Class Details
    Page Planning
    Remember that we have limited panels and pages. If we draw every movement and scene, it won't be a comic anymore. I will be sharing my tips and the rules I go by when I plan a page, so you are ready to do the same with any script.
  • Coloso Illustration Class Details
    Comic Book Characters
    You don't want your comics to be wordy. In that case, how could you deliver the story? Welcome to character design in comic art. You will learn how I design characters based on their stories and find out how I manage to show different feelings using diverse facial expressions.
  • Coloso Illustration Class Details
    Comic Page Composition
    Believe it or not, we, as comic artists, choose the comic page templates strategically. Out of different page templates, we must select the one that best fits the panels. There are plenty of things for you to consider tool: timing, sense of riding, size of each panel, distribution, etc. Here is my tips and tricks in page composition.
  • Coloso Illustration Class Details
    Ink Your Comic
    What is so different about "inking"? Unlike illustration, we don't do "linework" after a sketch; we "ink" the page. There is no comic without inking the page. During this class, I will go over different aspects of inking, including ink brushes, how its distributed, and the history of black and white in the history of comics. .
  • Coloso Illustration Class Details
    Coloring Process
    Like other comic elements, coloring also has its purpose as a tool in storytelling. To correctly deliver the story, you would need to understand how coloring works in comics. I will walk you through the coloring process step by step so you can practice and experiment with this tool.
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Curriculum

Curriculum
In-depth Look

SECTION 01. OT

01. Orientation

  1. Introducing your instructor
  2. What you will learn
  3. Programs used
SECTION 02. Reading Between the Lines

02. Understanding the Script

  1. Reading the script
  2. Creating a storyboard template
  3. Basic units in comics: page/sequence, etc.

03. The Primary Storyboard 1

  1. What to draw in every panel.
  2. Learning what is the essential information
  3. Sketching the panels

04. The Primary Storyboard 2

  1. Can I skip a panel?
  2. How to mix panels

05. Page Composition

  1. Composing a page
  2. the Z scheme: Western and Eastern reading sense
  3. The use of timing
  4. Sense of reading
  5. Different size and types of panels and how to use them

06. Rule of Thirds

  1. Understanding the rule of the thirds
  2. Applying the rule of the thirds to a page
SECTION 03. Characters in Comics

07. Sketching your Characters

  1. The sketch
  2. Shaping
  3. How to create a compelling character based on an archetype

08. Inking your Characters

  1. Logics of inking
  2. Different styles
  3. Light and inking
  4. The use of black

09. Color Theory

  1. Color theory overview: the 3 pillars of color
  2. How to use complementary and tertiary palettes

10. Color Sphere Exercise

  1. Applying color sphere
  2. Color sphere exercise: warm tones
  3. Color sphere exercise: cold tones

11. Painting your Characters

  1. Flat coloring
  2. Applying lights to painting
  3. Applying rim light to painting
SECTION 04. Planning the Page

12. Setting Up a Comic Page Template

  1. Comic page tools overview: size/ resolution/ cutting lines/ organizing folders
  2. Understanding the technical data behind the comic page

13. Translating your Primary Storyboard to the Page

  1. Copying your storyboard to the final page.
  2. The margins
  3. Distribution of texts

14. Choosing the right action moment

  1. Choosing the ideal moment
  2. What needs to be contained in every frame
SECTION 05. Delivery and Visualization

15. The Importance of Expressions in Characters

  1. Different kinds of expression
  2. Which muscles are important
  3. How to make an expressive character
  4. Body language

16. Using Yourself for Expression Reference

  1. Taking pictures for self-reference
  2. How to distort the image properly
  3. transforming the reference into the character

17. Background for Your Scene

  1. The sketch
  2. How to create a compelling background
  3. What to keep in mind when creating a background

18. Sketching the Page

  1. Building the characters
  2. Basic perspective for backgrounds
SECTION 06. Black and White

19. Inking the Page

  1. Inking the characters
  2. Ink distribution study
  3. Kinetic lines
  4. Texture brushes

20. The Use of Black and White

  1. Studying other inkers' work
  2. Uses of black and white in comics history
SECTION 07. Composing a Page

21. Composition Applied to a Panel

  1. Different camera angles & shots
  2. Distribution of characters
  3. What is the right amount of information/detail
SECTION 08. Coloring a Comic Page

22. Flat Coloring

  1. What is the correct range of colors for flatting
  2. Order in layering
  3. Correcting the flats before lighting

23. Color Palettes

  1. Use of color and emotions
  2. Less is more
  3. Color as a narrative tool

24. The Use of Light on the Page

  1. Use of light to emphasize narrative
  2. Applying light to your characters and integrating them into the background
  3. Applying light to your backgrounds
SECTION 09. Toolbox for Comic Artists

25. How to Draw Interesting Sound Effects

  1. Fonts and sound effects
  2. Tools used to create them
  3. Size and importance

26. Experimenting with Values and Color

  1. The use of photography filters
  2. The use of selective color
  3. Speech bubbles
SECTION 10. Conclusion

27. Finishing the Class

  1. We will discuss previous content and bring the class to a conclusion

Interview
with 2D Comic Artist Miki Montllo

background images
Question.01
Is there a specific reason why you chose this specific topic/themes?


I chose to create comic-based content because comics have always been my passion, and also one of the richest ways to be a storyteller artist. I want to take the skills I've learned throughout my experience making comics while adapting to different markets and teach it in the most practical and entertaining way possible.
Question.02
Could you please share how you started your journey in the industry?


My start as a comic artist was a bit atypical since my initial years were more animation oriented. I worked on several movies and projects, but I always felt I wanted to have more control over the stories I was working on; so I made a little comic project, only 4 pages, and I showed it to a publisher in a comic con. I got a contract and that project became a science fiction saga!
Question.03
Please Share Your Thoughts on the Job Market of the Industry.


The comic industry is challenging for many reasons. First, you need a complete set of skills that takes years to develop. Second, the new generations are really talented, so you need to be really good! And third, the industry is constantly changing. With every new form of technology, the way we publish and read comics evolves, and we need to be able to adapt to those changes.
Question.04
What are "go-to" or "must-have" tools in your industry, and why?


What I love about comics is that they are, in fact, very cheap to produce. Your main tool is time. You need planning, lots of planning. If you go for traditional media, a pencil, paper, maybe some ink, and brushes are all you really need. If you go digital, get a tablet, a laptop, or an iPad, and you are ready to create some magic!

Required Programs

This course will use Photoshop.
Please purchase and install these program(s) for an optimized lecture experience.

*These programs and/or materials will not be provided with the lecture.

Adobe Photoshop
Recommended

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