Over the years I've created an assortment of materials on the craft of making comics, writing and being an artist. I usually publish these on my blog, but there are a few threads on Twitter that deserve a proper archive on my site (some of them are especially long!).
I enjoy making essays and books on comics craft, and am available for any opportunity to engage in teaching and visual literary outreach. :)
If you're curious about influences and general questions, you can hop on over to Frequently Asked Questions.
Live Documentation of my process writing, illustrating and publishing Seance Tea Party.
Live Documentation of my process writing, illustrating and publishing My Aunt is a Monster.
Live Documentation of my process writing, illustrating and publishing Alexander, The Servant & The Water of Life.
Guide on how to create a simple, straightforward graphic novel pitch. Please also check submission guidelines of your target agent or publisher!
A guide describing my homemade method of creating story outlines, based on the alternating interactions between two principles, Theme and Character. I initially wrote this for graphic novels (since that's my primary medium), though apparently the Onion Method is transferable to other forms of fiction writing.
The second stage of the Onion Method, detailing how I decide on an art direction based on a story outline.
Most comics resources are based in North America and Europe, so I've created a guide on breaking into the comics industry, tailored for Malaysians and other nearby Southeast Asians. It's an ongoing centralised resource, and is updated based on the latest developments in online and print comics.
Some advice on information literacy and doing research if you're embarking on a research-heavy graphic novel project (applies to prose and other art forms too).
The softwares and apps I use to catalogue my research materials so they don't get lost.
An entire site dedicated to archiving the creative process and research material on ALEXANDER, which exist alongside their final result (the graphic novel). It's unique in that regard. I think it's good material for classes and for showing that comics require a lot of work.
I co-found and co-organise this collective, where we share resources and conduct high-quality workshops and panels focused on the applied arts and visual literacy.
A panel I moderated for Comics Art Festival Kuala Lumpur, featuring illustrator-editor Charis Loke, comics writer and editor Asa, and prose novelist Hanna Alkaf. It's almost two hours long and goes quite deep into each person's craft and explores how good research methods are applicable in comics, illustration, editorial and prose. Another unique thing is it's all from the perspective of Malaysians who juggle the worlds of the East and the West, so very different from the usual discussions centered on white, Western-based power dynamics.
This is really outdated and no longer reflects my current level of research or teaching (for that, see ALEXANDER), but the supplementaries for both volumes of the comics are useful as precursors, and for providing additional context that informed the storytelling.