Miriam Libicki, an American Jewish girl from a religious home, enlists in the Israeli Army one summer against everyone’s better judgment. Many qualities seem to make her unsuited for IDF life: her Hebrew isn’t great, she is shy and passive, and she has a tendency to fall in love with anything that moves. If that weren’t enough, the Al Aqsa uprising, a.k.a the second Palestinian Intifada, erupts a few weeks after she is stationed as a secretary in a remote Negev base. Will Miriam survive threats of terrorism, the rough IDF culture, and not least, her horrible taste in men?
I chose this page more or less because it was the page I was working on when I was offered to blog about my process, so I was able to un-tape it from my drawing board and scan it several times before I finished it. Below, find more detail on my process than anyone could possibly want!
I script a whole issue and break it down into pages before I start drawing, though I will sketch out the amount and configuration of panels as I am scripting. After a few years of writing comics, I have figured out how much text/dialogue I can fit in a panel and how many panels/scenes I can fit on a page (the answer to both is: a lot less than you’d think) without shortchanging the drawings.
Then I will make thumbnail drawings in an 8.5″x5.5″ sketchbook. I try to lay out the pages facing each other the way they will be when printed, so that I can design a two-page spread in a harmonious manner if possible.
This page has three scenes on it. I originally had each scene occupying one row of panels (I think in proper comix speak they’re called “tiers”), but when I got to my thumbnails, I thought the second scene wouldn’t be well served by really skinny panels, and the third scene wasn’t important enough to get a whole tier to itself.