August - Visualizing Merch

Hi folks!

Got a lovely question from the last blog post and have been ruminating on it for quite a long time.

A reader asked how I go about designing merch! So I’ll break the general process down from pins to purses. This process won’t work for everyone because it requires a lot of spatial awareness and being able to imagine objects in space, which not everyone has that ability! There ARE ways to capture the feeling of imagining your project in your hands, but it requires more steps like measuring or finding objects with a similar likeness.


What do I want to make? How do I know if it’s possible?

I put the two questions together because sometimes I don’t know what I want to make! And at times, I don’t know if something is possible until I see it being done by someone else.

A lot of folks use Pinterest, which works! I think the wariness that I’ve faced in my own experience is that making boards and looking at a lot of similar projects makes me more susceptible to taking ideas from other artists, and I have immense anxiety about plagiarism by proxy (my own phrase for spending time intaking a lot of work, but forgetting what you were inspired by and potentially copying something you had just seen in the past, and then someone online will cancel you).

So, how do I use Pinterest to get ideas? While I’m not anyone’s coach or any kind of authority figure at all, I found it really useful to see what manufacturing techniques are possible and work on a design that encompasses how excellent that technique is.

Here is an example of what I’m talking about:

I thought this pin had a lot of great techniques! Soft enamel means it is known to have the color sink in, and the metal sits above the color, which gives it a texture. While hard Enamel means the color of the piece is flat and flush with the metal. Knowing this, you can see and imagine the silver metal ridges of the vinyl will be raised! It’ll have such a stunning hand feel. Alongside that, you can see that on the right side, the record player, not all of the tiny details are filled with enamel. It’s just recessed metal! It helps add depth to the space but does not detract from the overall shiny silver look of the piece, which is very strategic and appealing. The more tiny spots the manufacturer has to fill, the more potential there is for mistakes since colors are manually filled by humans!

It’s a good example of how I wanted to build my own enamel pin that was purely metal, no enamel:

This piece is one inch, which would be extremely hard to fill at its size. It was worth just playing around with the metal to make the tiny details stand out. I thought of how cool challenge coins look, and they also use very similar techniques. The antiquing is the finish so the recessed spaces would look darker, and make sure the raised edges were popping.

Another place to get inspiration is by literally going to stores! I tend to go to places like Hot Topic, Box Lunch, anime stores, Target/Walmart, DAISO, and any place that sells blind boxes. While these goods are made by artists and designers, they’re made for corporations, so their work is already influenced by boutiques, other indie artists, and what marketing deems acceptable. With that in mind, it can give you an idea of what’s selling in the market, and if you’re savvy, you can gleam at what is to come!

At times, even with loads of experience, it’s hard to imagine what a product will look or feel like without seeing it in person. So, I recently went to a Box Lunch to take a closer look at this Howl’s Moving Castle purse.

From the promotional images, you can see it looks like it’s printed on the front, but weirdly enough… Howl and Sophie are actually debossed?! (When a design is basically indented/pushed in.) It was such a weird choice when everything else on the purse was printed, though it was cool to see how thin they got the lines on PU leather. They also have nice rounded studded bottoms that weren’t shown in the sample images. There was a lot to appreciate, especially the puffy nature of the purse to give it that authentic quilted feel.


how to translate your art into merch

This is a herculean task to break down since I had to take a whole semester course just to set good practices for this kind of work!

Here are some tips I can give, though:

Find something equivalent in product AND in size

For things like enamel pins and stickers, it’s easy to find stuff that you may have already bought or are on store shelves to reference. Use those objects as a way for you to understand the size and scope of your merch before you commit to the size. Stickers and prints have a little less leeway than enamel pins and purses. Why? With stickers and prints, they’re primarily rasters… so as to avoid pixelization, you have to be sure how to set up your files beforehand to give yourself more mobility. For enamel pins, for example, the manufacturer basically vectorizes your work, and through that, you can dictate the length and size through charts/specs. Here’s an example of my pin, which I do all my vectors and specs myself:

Of course, please do not send this to manufacturers and steal my product. I know this is a given, but just in case.

Even after the manufacturer comes back to you with a proof of your design, you can tell them to change the sizes etc., as that will only effect the cost of the product at that point.

Feel free to use the template above for enamel pin manufacturing. It’s beneficial to them, and it gives you a lot of control over your design.

Make items specifically for the medium… or don’t!

Sometimes I find myself banging my head against a wall coming up with a design to fit a medium. I love to make new designs for stickers and pins etc etc but that doesn’t need to be the case! You can just put an old doodle into the fray or and old drawing and that works just as well.

Obviously, this comes with its hardships, for example, if you have an elaborate illustration it may not be translatable to be a pin. Be practical, of course. But sometimes I forget that I can just put a previously made drawing onto a sticker, and it’s allowed to be a sticker despite not being designed with the expressed intention of being one! Vice versa, if you’re struggling to make your premade work into a product, maybe try making a piece with the product in mind!

Get to know merch terminology.

This is my biggest one. Learning the terms gives me more agency over my product. I can tell what can and can’t be done if I know how things work. Unfortunately, product design is such an ENORMOUS category that terms are somewhat specific to the type of merch you make. However, here’s a small list, from the top of my head, that has lots of overlapping features.

  • PANTONE COLOR SYSTEMS / PMS - People typically refer to the PMS Color Book as “SOLID COATED.” Most useful when making merch that doesn’t use CMYK printing, such as enamel pins, screen printing, purse making, etc…

  • Emboss / Deboss or Recessed

  • Margin / Trim / Bleed - For any printing

  • Spot Color / Spot UV / Foil

  • Diecut / Kisscut

  • MM / CM / IN - Be familiar with both millimeters, centimeters, and inches. Have a measuring tape with both on it if possible.

  • Finishes - Books: Gloss, matte, semi-gloss, satin Pins: gold, silver, antique, hard, soft, screenprint, dyed


These are just very common words I come across when making merch, and if you’re thinking about making stuff, again, it’s good to get acquainted with it! Searching terms is hard, so using keywords on a search engine such as “common enamel pin product design terms” or “common printing product design terms” can give some results.

If you’re seriously looking to get into fashion or accessories related to clothing, I highly recommend Fashionpedia. It’s been my lifesaver. I own their Bag Design and Textilepedia book as well. It’s the most comprehensive book I’ve ever run across that gives you terms for every piece of clothing!


You will mess up!

I feel like I mess up from time to time. Following my ruleset of “measure twice, cut once” works, but there are times I just mess up. Or the manufacturer messes up, and you just make do with what you have. If something is messed up, run it by your friends or peers to see if it’s sellable. AND take their word for it. Usually, people will say it’s salvageable, buy it, see no mistakes, or take it as a discount. No matter what, most products can be sold or given away. Don’t let it rot in your closet. If you genuinely detest it, give it away to people who give you a nice conversation or as gifts or trades. Make the most out of a mistake! Never let it go to waste!


If there’s any specific product type you’d like me to break down in the future, I’d love to hear from you! This was a general overview, but I am happy to talk about anything in particular. Thanks for reading and your patience this month!

How I tone my comics - Composition and Balance

Hi folks,


Following up on the last post, this post is more specifically geared toward how I balance my pages in my comics. This kind of thinking can also be applied to illustration work as well, but the examples I have below are pieces from my most recent comic pages, because I feel that my comics require a little more complexity in flow and legibility than my single illustrations needs to convey.

What am I looking at?

My brain! Sort of! When working on a page, I always imagine my work in large blocks of black and white, and then after, I add tones to further push the composition and give areas some additional clarity. This preplanning allows me to not worry so much about balancing my pages toward the finishing stages.

So what kind of large blocks of black and white do I think of? Well, these are some of the basic shapes I find myself drawn to!

As you can see, each box has a different focus, and it’s not necessarily based on lighting. It’s more about the silhouette and composition. Here are some quick sketches that utilize some of these ideas.

One other important factor to my work is that I tend to allow characters and objects blend into the large blocks of black/tones. I don’t mind if details get cut out, and I avoid the “white halo” effect as much as possible. It’s a case by case basis, but it’s very lovely when you have a composition/silhouette built with the spot black in mind.

Practice

Here’s a little exercise that I used to do when I visited Museums frequently. I would take my pen and block out paintings very quickly in my sketchbook to capture their composition in black and white. It helped me figure out not only lighting of a piece, but reimagine the paintings in shapes.

The example piece below is by Thomas Chambers. I thought the artwork was stunning and had amazing shapes, so I wanted to break it down as fast as I could.

There isn’t much to say between each step that I hadn’t already explained, but I hope this helps you all think of your work in shapes! Try this out on your favorite artwork if you’re feeling stuck, or on a movie still that really captured your eye. Keep it simple and fast. Good luck!

How I tone my comics - It's complicated!

Hi folks!

Today, I’m going to cover how I generally do Black and White toning in my comics.

When I was participating in an Original Character Tournament ( abbreviated as OCT ), I had created a quick guide on how I process my tones. It was something to help folks get into comics, but it wasn’t a very comprehensive guide that covered the logic behind my choices. I wasn’t very happy with it, so it has now become this relic that people pass around between friends.

I finally set aside some time to edit this thing, hopefully it looks okay!

The logic between the steps are mostly for printing purposes. In printing, there’s a certain point where a printing past a specific darkness or lightness will end up being black or white. I’ve found that anything under 10% black and over 70% black makes negligible differences on how the printer sees those tones.

When I work, I always think of my art as a product to be printed, even if I don’t. But this kind of thinking gives me a safety net in case I decide to print it, and it allows me to imagine how my comics might look on different monitors. Because every screen is so different, someone with a cheaper monitor might not get to see the full range of tones and hues as other folks, and might make my work look dark or muddy. This is a small prevention measure for myself.

That’s cool, but how do I use this?

If you’re not worried about printing, you could just potentially just use the eyedropper on the provided tones. It will give you a direction on how you should tone your comics by limiting how many steps you get. I do this for a lot of my doodles, because I know I’m not printing it and am simply practicing.

Okay, but I am worried about printing my zine/comic. How should I go about this.

If you’re an indie artist, then even if you don’t prepress your comic entirely correctly, most printers nowadays can handle it. ( Sorry to all my printmaker friends…this is my big opinion. )

It’s not ideal for your quality, but it will get the job done and most readers don’t notice there’s any issues with the comic ( unless it’s too dark, but hopefully this guide will prevent that 😉 ).

Let’s revisit this part of the image, shall we?

Before you tone, you can make separate layers with different percentages. That’s why the numbers are on the guide! It’s the opacity! Doing it this way gives you faster editability, and if you hire a prepress person to touch your files in the future, you’ll make their lives easier.

There’s some more steps to ensure the quality of the print, but maybe a topic for another time…


While I am not an expert at printing or prepress, this book from Iron Circus is an excellent resource for those who want to know how intense book production is. You can learn a lot about how to think in terms of print and taking control over your quality!

I have provided a sample page from my comic SOFTLEAD. I had printing in mind while working on it, and thus I created layers with the techniques I explained in this post!

Clip Studio Paint - How to make a comic page? [Bleed, Trim, Margins, Safe Are

Hi folks!

TO START THIS OFF, THIS IS A VERY OUTDATED TEMPLATE. If you use this template, it will be up to you to adjust it accordingly. Prepress gurus, look away!

CSP has different terminology for setting up their pages, and while some people do not bother putting in all the measurements for their comic pages, I heavily rely on certain features that make my comic making faster. So the set up portion is very important. Regardless if a client provides me a template, I take the time to match the template numbers while making a new project (along with a little trial and error).

So I want to create a quick overview of what certain things mean when creating a new comic page.

I will be using my 8.5 x 5.5” custom template as the example.

Canvas

  • Width and Height here is the entire page size.

  • So imagine if this is your 11x17 piece of paper that you will start marking down the measurements on.

  • I stick to around 450-600 dpi for my comics.

Binding (Finish) Size

  • This is what people consider the trim. This is what the final size of the book (when completed) will be.

  • You can add the bleed in the Bleed section as well! GREAT! However, it only does two digit decimals. Not great. I advise folks who do a 0.125” bleed to round up to .13”

Default Border (Inner) Size

  • This is what people typically call the safe area.

  • Each publicist will have their own idea of margins and safe areas, because every printer operates differently! So if you take your files to one printer, and then to the next, they might have completely different needs. It’s very annoying and very scary, but it’s just how it is!

  • Offsetting X and Y comes in handy because you can make space for the gutter, which CSP will automatically consider when you work in Storymode (an EX feature).


And that’s the basics!

A lot of this wont make sense until you try it out yourself. For good practice, look up a basic comics template and try inputting measurements and tinkering with it yourself.

In my member’s downloads, I’ve also included my very very in “Work In Progress” 8.5 x 5.5” Zine Template. I’ve never released this one to the public because it still has some issues I hope to resolve in the future (example: printing can sometimes result in the art being too close to the gutter, or when importing to inDesign, I can lose some detail along the edges). Overall, I’m confident that if you stay WITHIN the safe area, your printing will work out fine. I can’t guarantee anything though, and ALWAYS consult with your printer.

If you can, please use it with caution as it is not a bullet proof template. So please resist the urge to share this one!


If you have any questions about the template, let me know! Have fun making comics!