Click on links above to view that stage of the process.

It all begins with a rough layout done in pen on 8 1/2 by 11 paper. This is a storyboard script where everything is plotted panel by panel, page by page. Based on what Hansen imagines will happen on this particular page, the page is broken up into panels. Then the dialogue is written into each panel. A rough drawing is added to the panel if he feels it will add to the context of what he wants to get across.

Pencils are done on 2-ply bristol board. If Hansen feels the drawings done on the storyboards are useable, he will blow them up on a copier and trace them to the board. Hansen: "Most of the time what I scribble on my storyboards are so dynamic, it's a waste not to use them." Overall, not much time is spent on the pencils since Hansen is also the inker. Hansen: "Because I'm penciling for myself, my pencils are rough in order to save time." Lettering is done roughly also and serves to help Hansen to gauge how much room will need to be alotted for the dialogue. Hansen: "Sometimes if there's not enough room, I'll tweak the dialogue in order to make it all fit within the panel."

Inks are done traditionally with india ink and brush. A Rapidograph pen is used to rule the panels. Any other special graphics required (like sound effects) are created on the computer and added later. The artwork is then scanned at 400 PPI at 100%. This equates to an effective PPI of 600 when the artwork is reduced in size for reproduction.

Lettering is done on a computer using a font created by Hansen based on his own style of lettering. He uses a web application he wrote, which combines graphics and text. The application creates an XML file, which can be used to generate either an HTML page for display on the web, or a TIF file for use in print. Hansen: "Lettering on a computer is a great timesaver. It's alot easier on the hands."

Below is an example of how Hansen's web app ComicMaker can input graphics and text. Click image to replay animation.