Development

Learn more about the creation process of Sunny Side Down – from the development history and our workflow to the personal reasons why we want to bring this story to life.

When I had the idea for Sunny Side Down back in 2018, I couldn’t have predicted how long the two characters would stay with me. In those past years, I not only moved from Bavaria to Hamburg (unexpectedly mirroring Sunny and Pit’s journey from the South to the North of Germany), I also met my now fiancée, who has been more supportive than I could have ever hoped for….

Two behind the scenes photos. A pick-up truck on a junkyard and a fortlift transporting a coffin.

Here we give you an insight into the steps we follow when creating each panel.

A lettered comic panel

started working on Sunny Side Down in 2018, when I was in my early/mid-twenties. I felt stuck — in myself, in who I was supposed to be, and in the growing fear that my time “to figure it all out” was running short.

To process those doubts, I created Sunny…

Three comic panels showing leaves in the wind, a forklift in a forest and a sunflower on the side of the road

Here’s a quick glimpse into how Amy brings our story onto the comic pages!

First, she starts with a very rough thumbnailing – just enough to give her a better idea of what the panel should look like. Then, she draws the pencils on a regular printer paper…

A work im progress pages with construction lines drawn by Amy

For Sunny Side Down, I will be coloring over 170 pages with an average of 7 panels each. Below, I describe the workflow that lets me finish the coloring in a timely manner. With so many pages to color, done is better than perfect!
I prefer non-destructive painting — it gives me the freedom to adjust colors, shading, lighting, and to do detail work later on, without having to worry about losing the work I’ve done so far. So for every new step, I use a…

Sunny and Pit are sitting on a tree in the evening sun

Visualizing sound effects was one of the new things I learned when I started to work on this project.

Until then, I had only ever worked on scripts for movies, in which the sounds were not necessarily the main focus. I did have some experience with Foley (adding sound in post-production), where I had to consciously think about how individual sounds would sound to be able to reproduce them — but adapting this to the comic medium was, of course, a whole new…

A forklift carring a coffin and a man jumping out of its path. A huge Brooowaar sound is being visible