A studio service
Your script, drawn as a real book.
You have a script, or a stack of notes that wants to be one. We turn it into comic book art that reads: thumbnails that solve the storytelling before a line is committed, finished pages in a comic book style chosen for your story, and files built for the format you're actually publishing in. Independent creators and small presses — original worlds only, never licensed properties.
N° 01The pipeline
Script to page, in the order that saves money.
A comic page is expensive to redraw and cheap to re-thumbnail, so the whole pipeline is built to find problems early. Every stage closes with an approval gate, and nothing moves forward until the storytelling underneath it works.
That order — thumbnails, pencils, inks, colour, lettering, print prep — is not ceremony. It is the difference between a note that costs an afternoon and a note that costs three weeks of finished pages.
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1 · Script breakdown
We read the script for beats, not just dialogue: which moment owns each page, where the page turn lands, and how many panels each beat can actually carry.
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2 · Thumbnails
Loose page roughs at postage-stamp scale, where staging, panel count and reading order are decided. This is the cheapest place in the whole book to change your mind — so we spend real time here.
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3 · Pencils
Full-size layouts with figures, backgrounds and camera locked. Faces, poses and environment detail get resolved now, while corrections are still measured in hours.
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4 · Inks & line
The finished line pass — weight, texture and blacks that carry mood on their own. A page that works in pure black and white will work in every colour treatment afterwards.
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5 · Colour
Flats, then rendering, with a scripted palette that tracks time of day, location and emotional register across the whole book rather than page by page.
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6 · Lettering & print prep
Balloons placed to steer the eye, sound effects treated as art-directed elements, and the whole book output to spec for the format you're publishing.
N° 02Page craft
Panels are a grammar, not a grid.
Most self-published comics fail on craft rather than art. The drawings are fine; the reading breaks. Eyes jump the wrong way, a reveal fires one panel early, a page turn lands on nothing.
We treat page architecture as a first-class deliverable. Panel size sets pace, gutter width sets rhythm, and where the page break falls decides whether a beat surprises the reader or gets spoiled two panels ahead.
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Reading order that holds
Panel shapes, tier breaks and balloon placement steer the eye along one unambiguous path, so no reader ever has to reverse and re-read a tier.
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Pace through panel size
Six tight panels compress time, one wide panel stretches it. Page density is scored against the script so quiet scenes breathe and action scenes accelerate.
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Page turns as reveals
The turn is the only real cliffhanger a printed comic owns. Reveals are scheduled to land on the recto so the surprise is never visible early.
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Gutters and rhythm
Consistent gutters keep a page calm; deliberate breaks in that consistency signal a shift in time or place without a caption doing the work.
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Spreads that earn it
Double-page spreads are reserved for moments worth the interruption — establishing a world, breaking a story in half — and are built with the gutter loss designed in, not discovered at print.
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Character consistency across pages
Model references and a style bible keep faces, proportions and costume detail on-model from page one to the last page, across however many chapters the book runs.
N° 03Delivery formats
One book, three shapes.
A comic today has to survive in at least three places: a printed edition, a vertical-scroll reader on a phone, and an ebook file. Those are genuinely different builds, not exports of the same file.
We plan the format targets before the first thumbnail, because a page composed only for print does not slice cleanly into vertical scroll, and a book laid out only for scroll loses its page turns entirely.
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Print-ready PDF
Correct trim, bleed and safe margins, colour built for print rather than screen, and a cover file with spine width calculated against the real page count and paper stock.
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Webtoon vertical scroll
A vertical cut where panels are re-staged for continuous scroll — pacing carried by spacing instead of page turns, sized for the tall canvases scroll platforms expect.
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Ebook & digital editions
Fixed-layout digital files that keep the page composition intact on tablets, plus the sized single-page images most digital comic storefronts ask for.
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Cover and back matter
A cover art-directed to read at thumbnail scale on a storefront, plus title page, credits, and any back matter the edition needs.
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Layered working files
Line, colour and lettering delivered on separate layers, so future editions, translations or a second print run can be revised without rebuilding a page.
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Promo art from the book itself
Panel crops, character cards and cover variants pulled from the finished pages, so launch material looks exactly like the product it is selling.
Investment
Named engagements. Quoted per project.
Three engagement shapes, from a short anthology story to a complete graphic novel. Every comic is a different length at a different density, so each one is quoted per project rather than sold from a price list.
Short story
Quoted per project8–24 pages
A single-issue story, an anthology contribution, or a pitch sample.
- Script breakdown & thumbnails
- Finished pages in your chosen comic book style
- Colour and lettering included
- Cover illustration
- Print-ready and digital files
Single issue
Quoted per project24–48 pages
A full issue built to launch a series and prove it to readers.
- Everything in Short story
- Character sheets & style bible for the series
- Page architecture scored against the script
- Cover plus one variant
- Webtoon vertical cut available
- Promo panel crops for launch
Full graphic novel
Quoted per project60+ pages
A complete book, produced in scheduled chapter batches.
- Everything in Single issue
- Chapter-by-chapter production schedule
- Consistency pass across the whole book
- Print, webtoon and ebook builds
- Layered working files handed over
- Full rights transfer on completion
Quoted per project. Page count, panel density, colour treatment and how much world-building the book needs are what actually move the number — a talky twenty-page drama and a twenty-page chase are not the same job. Send the script or a synopsis and we'll quote the real thing.
Questions
The answers we give most often.
- How long does a graphic novel take?
- A single 24–48 page issue typically runs three to five months from approved script; a full-length graphic novel is a multi-month engagement produced in chapter batches with a delivery date per batch. Density drives it more than page count — a page of four talking-heads panels and a page of six crowded action panels are very different amounts of work.
- Do I need a finished script first?
- A finished script gets you the most accurate quote and the fastest start, but a detailed synopsis with a beat outline is enough to begin. What we can't quote from is a premise alone — until the beats exist there's no way to know how many pages the book actually is.
- Can you work in a specific comic book style?
- Yes. We art-direct the book to a style agreed in advance — clean line-and-flat colour, heavy-ink noir, soft painted rendering, or the lighter styles that suit all-ages and middle-grade books. We do not imitate any existing franchise or its characters; the look we build is yours to own.
- Is lettering included?
- Yes, in every tier. Balloons, captions and sound effects are placed as part of the page composition rather than bolted on afterwards, because balloon position is one of the main tools steering a reader's eye across a panel.
- Who owns the finished comic?
- You do. Full rights to the story, the artwork and the files transfer to you on final payment. We claim no royalty, no ongoing licence and no credit unless you'd like one. The characters and world are yours to publish, sell and extend.
- Can you deliver both print and webtoon versions?
- Yes, and it's much cheaper if we know upfront. When both formats are planned before the thumbnails, pages are composed to work in each. Cutting an already-finished print book into vertical scroll afterwards is a rebuild of the staging, not an export setting.
Next step
Send us the script.
Tell us the story, the page count you have in mind, and where you plan to publish it — we'll reply within two business days with a per-project quote and a production schedule.