Comic Artist, Miki Montllo Class Description
"Find out how to turn your script ideas
into striking pages of comic book art."
Want to bring your stories to life?
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
Length: 28 videos
TBD (WIP files)
Expert Comic Artist
Miki Montllo's Profile & Portfolio
Warship Jolly Roger SeriesAuthor: Sylvain Runberg
Illustrator: Miki Montllo
Providing for HumanityOriginal Text: Cixin Liu
Adapted by: Sylvain Runberg
Illustrator: Miki Montllo
Diary of a QuarantineAuthor/Illustrator: Miki Montllo
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.
Comic Artist at Netflix, Inc.
Projects & Awards
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)
6 Class Exercises
Transition: Storyboard to comic page
References and Visualization
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.
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.
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.
Script AnalysisWe 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.
Page PlanningRemember 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.
Comic Book CharactersYou 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.
Comic Page CompositionBelieve 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.
Ink Your ComicWhat 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. .
Coloring ProcessLike 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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SECTION 01. OT
- Introducing your instructor
- What you will learn
- Programs used
SECTION 02. Reading Between the Lines
02. Understanding the Script
- Reading the script
- Creating a storyboard template
- Basic units in comics: page/sequence, etc.
03. The Primary Storyboard 1
- What to draw in every panel.
- Learning what is the essential information
- Sketching the panels
04. The Primary Storyboard 2
- Can I skip a panel?
- How to mix panels
05. Page Composition
- Composing a page
- the Z scheme: Western and Eastern reading sense
06. Rule of Thirds
- Understanding the rule of the thirds
- Applying the rule of the thirds to a page
SECTION 03. Characters in Comics
07. Sketching your Characters
- The sketch
- How to create a compelling character based on an archetype
08. Inking your Characters
- Logics of inking
- Different styles
- Light and inking
- The use of black
09. Color Theory
- Color theory overview: the 3 pillars of color
- How to use complementary and tertiary palettes
10. Color Sphere Exercise
- Applying color sphere
- Color sphere exercise: warm tones
- Color sphere exercise: cold tones
11. Painting your Characters
- Flat coloring
- Applying lights to painting
- Applying rim light to painting
SECTION 04. Planning the Page
12. Setting Up a Comic Page Template
- Comic page tools overview: size/ resolution/ cutting lines/ organizing folders
- Understanding the technical data behind the comic page
13. Kinds of Panels and Timing
- The use of timing
- Sense of reading
- Size of the panels
- Different kinds of panels and how to use them
14. Translating your Primary Storyboard to the Page
- Copying your storyboard to the final page.
- The margins
- Distribution of texts
15. Choosing the right action moment
- Choosing the ideal moment
- What needs to be contained in every frame
SECTION 05. Delivery and Visualization
16. The Importance of Expressions in Characters
- Different kinds of expression
- Which muscles are important
- How to make an expressive character
- Body language
17. Using Yourself for Expression Reference
- Taking pictures for self-reference
- How to distort the image properly
- transforming the reference into the character
18. Background for Your Scene
- The sketch
- How to create a compelling background
- What to keep in mind when creating a background
19. Sketching the Page
- Building the characters
- Basic perspective for backgrounds
SECTION 06. Black and White
20. Inking the Page
- Inking the characters
- Ink distribution study
- Kinetic lines
- Texture brushes
21. The Use of Black and White
- Studying other inkers' work
- Uses of black and white in comics history
SECTION 07. Composing a Page
22. Composition Applied to a Panel
- Different camera angles & shots
- Distribution of characters
- What is the right amount of information/detail
SECTION 08. Coloring a Comic Page
23. Flat Coloring
- What is the correct range of colors for flatting
- Order in layering
- Correcting the flats before lighting
24. Color Palettes
- Use of color and emotions
- Less is more
- Color as a narrative tool
25. The Use of Light on the Page
- Use of light to emphasize narrative
- Applying light to your characters and integrating them into the background
- Applying light to your backgrounds
SECTION 09. Toolbox for Comic Artists
26. How to Draw Interesting Sound Effects
- Fonts and sound effects
- Tools used to create them
- Size and importance
27. Experimenting with Values and Color
- The use of photography filters
- The use of selective color
- Speech bubbles
SECTION 10. Conclusion
28. Finishing the Class
- We will discuss previous content and bring the class to a conclusion
with 2D Comic Artist Miki Montllo
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.
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!
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.
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!
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.
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