From Script to Panel: Our Comic Page Process

Look, most comic artists waste time. Not because they’re lazy. Not because they lack talent. But because they dive in without a process. And that’s where the pages start to fall apart.

You’ve got a script. Maybe it’s brilliant. Maybe it still needs polish. Doesn’t matter — if the workflow’s messy, the finished comic will feel just like that: messy.

At Minerva Art Studio, we don’t do messy. We follow a tight, deliberate system that takes your comic from script to panel without second-guessing, rework hell, or visual chaos.

What you’re about to read isn’t theory. It’s what we actually do — every single time we take on a project. Whether you’re writing your first issue or managing a full series, you’ll find this page worth bookmarking.

Our comic page process—from script to final art—streamlined for clarity and storytelling impact.

Understanding the Script

Before the first line is drawn, the script has to be understood. Not skimmed. Not guessed at. Understood.

We read it like a director reading a film script — not just the dialogue, but the rhythm of the story. Where the beats hit. Where the tone shifts. Where the characters drop their armor.

That’s where we begin: narrative and character arcs. Is the lead gaining power or losing it? Is this scene calm or tense? Is it setup or payoff?

Then we move to pacing. Mood. Scene transitions. Most artists skip this part. We don’t. Because we’ve seen what happens when you treat a five-panel scene like it’s a ten-panel monologue. It kills the momentum.

We mark everything up. Dialogue pauses. Page turns. Dramatic tension. We annotate directly in the script. We don’t trust memory. And we don’t let ambiguity through the door.

That’s the only way to move into layouts without fumbling.

Thumbnailing & Page Layout

Here’s where most artists get stuck. They start drawing the actual page without thumbnails. Big mistake. It’s like building a house without a floor plan.

Thumbnailing is not optional. It’s the first visual pass at the script — rough, fast, and low-risk. This is where we figure out panel size, shape, and flow without wasting time redrawing later.

We sketch out each page based on what the script demands, not what “looks cool.” The thumbnailing process locks in pacing. If a moment needs room to breathe, we give it room. If it needs to snap fast, we tighten it.

Then we build out the comic page layout. How many panels? How much action? How do dialogue balloons fit without crowding the art?

This is where we balance three things:

1. Action clarity – so the reader never gets lost

2. Dialogue placement – so speech feels natural

3. White space – so the eye can breathe

Every line, every box, every panel gets thought before it gets ink.

Visual Storytelling & Composition

This is where a page goes from serviceable to compelling. It’s not just about drawing what’s in the script. It’s about telling the story with composition.

We start with visual hierarchy — what’s the first thing the reader sees? The second? The third? Then we bring in layout rules: rule of thirds, character positioning, panel size. Not fancy theory. Just what works.

Eye flow is a real thing. We use it on every page. If your reader has to guess where to look next, they’re gone. We line up action, motion, and dialogue in a way that leads the eye without confusion.

Compared to the stuff we’ve seen — even from some “how-to” guides — we don’t just talk about “emotion in composition.” We show it. Close-ups that punch. Wide shots that breathe. Shadows that say more than words.

Clarity and tone. That’s what we focus on here. Because if your reader’s confused, your story’s lost — no matter how great the artwork looks in isolation.

Panel-by-Panel Breakdown

This is where the rubber meets the road. A good comic script format only gets you so far. The moment you start breaking the script into panels, it becomes real — and every decision matters.

We start each panel breakdown with one question: What’s the point of this panel?

Is it delivering new information? Reinforcing something? Acting as a beat? Every panel must earn its space on the page. If it doesn’t, it’s dead weight.

We break the script into beats — not lines. One beat per panel, unless the story demands compression. A reaction shot, a shift in tone, a reveal — each gets its own moment.

Dialogue placement comes next. We know exactly where each balloon will sit before the inking starts. Why? Because misaligned dialogue breaks flow and forces rewrites. We build panel space with balloons in mind, not as an afterthought.

Balloon flow matters just as much as art flow. If the eye hits a balloon in the wrong order, the scene gets wrecked. That’s why we layer every panel with visual and verbal rhythm — fast, slow, punchy, soft — across the entire page.

Pacing across panels isn’t just about number of frames. It’s about space, composition, and what gets shown vs. implied. You can’t wing this stuff.

We don’t guess. We plan. That's why our pages read well — not just look good.

Character Design Integration

Your lead character has a cybernetic eye? Great. Is it on the left or right side of their face — and is it consistent from panel to panel?

That’s what this stage is about. Once character designs are finalized, they’re locked. Every panel they appear in, every expression, every silhouette — it all has to match the visual truth we set at the start.

When we plan the page, we already know what each character looks like from every angle. If a scene calls for high emotion or intensity, the design has to deliver on it without blowing the style.

This isn’t just about model sheets. It’s about reading the script and knowing how the visual style serves the tone. If the writer shows a breakdown or a turning point, we reflect it — not just in the dialogue, but in posture, facial tension, and camera angle.

Every time we pick up a pen, we check back against the design sheets. No off-model guessing. No freelance chaos. Just locked-in visual identity that carries from page 1 to page 100.

If you're reading this and wondering what that actually looks like — we've got past project samples that show design fidelity panel to panel. Ask, and we’ll walk you through it.

Collaboration & Revisions

Here’s the part most studios fudge. They say “we collaborate” and leave it at that.

We don’t run on vague. We run on loops. Artist–writer communication is non-negotiable, and it happens early and often.

Before layouts go live, the script gets reviewed and broken into visual beats. Once thumbnails are in, we review again. Not once. Not twice. As many times as it takes to get alignment.

We work in tools that support this — Google Docs for scripting comments, Clip Studio Paint for live markup and layer tracking. No mystery files. No “where’s the latest version?” chaos.

Every revision is labeled. Every version is backed up. You always know what’s changed and why. If something’s unclear, we ask. And if something doesn’t work visually, we say so.

There’s no ego here. Just pages that get better every round until they’re ready to go to print.

This isn’t “collaboration” the way your competitors describe it. This is work. Together. Clean, fast, and to the point.

Inking, Lettering, and Final Touches

This is where the draft becomes a page.

Digital inking is where most artists spend too long — or not long enough. We ink with precision, using tools like Clip Studio and Photoshop. Every line is there to serve the story — not to show off.

When it comes to lettering, we go custom when it counts. Standard fonts work for some stories. But when the tone demands something tighter — like horror, sci-fi, or period drama — we build it ourselves. Lettering is part of the voice, and we treat it that way.

Panel borders get adjusted after inking to support pacing and composition. If the mood is tense, we may narrow them. If the beat is soft, we let them breathe.

We also place SFX with the same care as dialogue. It’s not just about making a noise. It’s about adding weight to the moment without cluttering the art.

Hierarchy matters. If the reader doesn’t know what to look at first, second, third — you’ve lost them. We never let that happen.

Our Favorite Tools & Workflow Tips

Want to know what we use to get this level of consistency and control?

Software:

• Clip Studio Paint – for thumbnails, layouts, inking, and final export

• Photoshop – for detailed touch-ups and file prep

• Procreate – fast sketching and quick iteration on the go

• Google Docs + Google Drive – script sharing, comment tracking, revision notes

• Dropbox – for synced backups

Hardware:

• Wacom Cintiq – direct input and pressure-sensitive precision

• iPad Pro + Apple Pencil – portable, sharp, responsive

• Calibrated secondary monitors – what you see is what you get

Workflow Tips:

• Save every version with date and initials. No overwriting. No guesswork.

• Build a panel template file. Same size. Same margins. Every time.

• Never letter before inking. It will throw off balance and spacing.

• Always test dialogue in the panel before finishing the art. Text takes space. Assume it lies to you.

If you want speed and consistency without sacrificing quality, the secret is boring: plan, test, repeat.

A Page from Concept to Final: Our Comic Page Process

You’ve read enough theory. Let’s show you the page.

Below, you’ll find a real example from one of our recent projects.

When connection is lost to a screen, what moments do we miss? A comic take on digital distraction and presence.

We take the raw line from the script, break it into visual beats, sketch it in thumbnails, refine the panel breakdown, and guide it through inking, lettering, and polish. It’s the full process — laid bare.

If you’re serious about your project and want to see the full breakdown — annotated script, thumbnail sheets, early drafts — we’ll send it over. No generic samples. No gatekeeping. Just reach out and ask.

Advice for New Creators

You don’t need a degree in comic studies to build a great page. You need three things: clarity, consistency, and a workflow that doesn’t eat you alive.

We’ve worked with writers who’ve never published a panel in their life — and seen their scripts turn into books that actually ship. We’ve also worked with pros who came to us burnt out by bad production habits. The common thread? They needed a process they could trust.

If you’re just starting out, here’s what we tell every new creator:

• Don’t skip thumbnails. Ever.

• Write with visuals in mind. If you can’t “see” it, don’t expect your artist to.

• Stick to one format for your script and notes. Chaos kills projects.

• Build pages in layers. Don’t rush to ink or color until the structure is locked.

• Respect the reader’s time. Every panel should move the story — not just fill space.

No one nails it on page one. But the ones who finish? They’re the ones who stick to a process.

FAQs

How long does it take to go from script to panel?

It depends on complexity, but our standard workflow moves from script to final art in 5–10 business days per page. More complex pages (multi-character scenes, heavy effects, tight lettering) can take longer. We move fast — but we don’t rush.

What’s the most important step in comic page creation?

Thumbnailing. It’s where you fix bad pacing, bad composition, and poor flow — before they cost you hours in rewrites or redraws. Skipping this step is the most expensive mistake new creators make.

How do you collaborate with writers remotely?

Everything is done through shared cloud folders, comment-enabled scripts, and layered project files. We mark up scripts in Google Docs, exchange layered files via Dropbox or Drive, and revise art in Clip Studio Paint. Every stage is versioned, time-stamped, and tracked.

Want This Workflow on Your Project?

If you’re a writer, publisher, or comic creator and you’re tired of messy processes, blown deadlines, or pages that don’t hit the mark — you know what to do.

Contact Us