The Comics How To... Vol. 2 Chapter 03. Production: Character Designs and Layout

Time to bring BOB #0 to life! It had been a long time coming, and I was more than ready to see what BOB #0 would look like! Time to rock!

We sent the script to our illustrator Francisco Resendiz and waited for his evaluation. As a writer/producer, I make it perfectly clear that the lines of communication must constantly stay open and be understandable. I stress to all those that I work with that if there are any questions, do not hesitate to ask. Since English is Francisco“s second language, I had to make certain the script was a very clear roadmap to the finished page. When I say “clear roadmap,”“ I mean detailed visual ideas and well formatted. In no way was the illustrator“s own vision stifled. After all, the illustrator, in my opinion, is the “ director”“ of the project and I have to support their vision.

First things first, though ”” what does Robert “Bob”“ Holbreck look like? Let“s get a design concept of this character! I had a couple of suggestions. I sent two pictures to Francisco: one of a young Elvis Presley and one of Buddy Holly. I suggested to Francisco that he pay attention to the hair of the two rock legends. Because Bob is a hairstylist, I felt it important that he must have great hair! What Francisco produced was amazing, hair and all! I could not have been more pleased with the result. Bob Holbreck lives! Next came his partner and mentor, Henry Harold Holbreck, aka Gramps, Bob“s great-grandfather. Suggestions were simple; Gramps is a little old man resembling Bob. I sent a picture of the famous actor William Hickey to Francisco for reference. The results were once again very pleasing. It is easy to see that Bob and Gramps are related. Next came Professor Berthold Juhlowsky and The Hux. The Professor was nothing out of the ordinary, but The Hux turned out to be something different than what I planned. Originally, the design of the creature on paper was very elaborate. Too elaborate. Francisco came up with his own concept and we went with it. We now had our four major players designed, and we were ready to go.

Next came the layout and I was really eager to see this process. Being a film guy and all, I was extremely interested in seeing what Francisco (an animator) would conceptualize.Â When the first ten pages of the layout arrived, it took me a minute to get used to it, because it was basically a crude rough draft. I remember contacting co-writer and editor Adam Volle and asking him if it looked all right to him. He said it was fine and he pointed out what I should be looking for.Â Gradually, as more pages rolled in, I was able to see and understand Francisco“s vision. It was really cool! If Adam or I realized something was a little strange, we made a note of it and asked Francisco about it. He assured us that all layout suggestions/edits would be rectified in the inked pages. We had a great system going here, and the process flowed very smoothly.

And so, the main character designs and the layout of BOB #0 were complete. It was very exciting to finally meet Bob and begin to see his world take shape. After the layout was complete, it was easy to cross-reference the script to the rough visuals drawn. We had a great feel for the composition of each page, and I began to see how the lettering might go. Plus, with the new visualization of the layout, we could see new opportunities present themselves in the way of dialogue edits.

Things were really moving along fast. I“d say the character designs and the layout didn“t take more than two weeks or so. When the layout was complete and approved, we immediately rolled in to the inks, another process I was very eager to see.

Next, inks, colors, covers, and letters”¦

For more information about the BOB: NON-UNION PSYCHIC world, visit the Warehouse 9 Productions siteÂ HERE