Web serialization of a comic intended for print is one of the standard models of comics production now (Although it still isn’;t profitable but that’s a whole other post) and here’s avery insightful post by Ben Towle on the conclusion of his webcomic, Oyster War. I’ve been enjoying his account of local skirmishes between 19th century Chesapeake Bay oyster farmers since he started it in 2008, and much has changed in how he put the comics out in that period, including the rise of Tumblr and yet more social media. Towle offers some VERY practical advice including how running it on GoComics affected the comics, mistakes in character design and URLS (get a separate URL for your comic) and also preparing for print:
Assume that your comic will be printed, Part I. – You may just be planning on throwing some stuff up online and seeing what sticks, but you can make some serious trouble for yourself down the line if you wind up deciding that you want to print your comic if you haven’t been doing some basic “just in case” things. Thankfully, I did the most basic of these with Oyster War–more just out of habit than good planning. Work in CMYK. Exporting CMYK to RBG is a lot less prone to problems than vice versa. Also: work at print resolution. I keep my line art at 1200 dpi and my coloring at 300 dpi. Again, it’s easy to export all that down to 72 dpi for screens… but there’s no way to do it in reverse.
Assume that your comic will be printed, Part II. – Some print-prep things that I really should have done, I didn’t start doing until about half way through. I wish I’d done them from the get-go. First: coloring with a K-free palette. Despite Oyster War being my first long comic I’ve done in color, I knew good and well that it’s a best practice to do CMYK coloring with little if any black (K or “key”) values in your colors… but, I foolishly took a “I’ll figure it out later” attitude, and now I’m having to go back and color correct a lot of early pages. I felt especially dumb when I finally decided to remix the color palette I’d been using to get it K-free and it took all of about 45 minutes to do. Other things I should have done from the get-go that are now costing me time: digitally blacking in areas of spot blacks that didn’t scan as completely black, superblacking the color under the line art.
Some of this will be a “Duh!” for web veterans, but it’s always someone’s first time at the rodeo. There are many technical aspects to this model that keep being reinvented. But it did work for Towle: Oyster War will be coming out in print in 2015 from a yet unnamed publisher.
Heidi MacDonald is the founder and editor in chief of The Beat. In the past, she worked for Disney, DC Comics, Fox and Publishers Weekly. She can be heard regularly on the More To Come Podcast. She likes coffee, cats and noble struggle.