The creative process of a Cartoon is rather complex and varies much from one author to another. In the case of Hergé, it acted of a rather methodical progression. Moreover, about the last years, it profited largely from the assistance of his collaborators of the Hergé Studios, in particular of Bob de Moor. But more, read the text How is born an adventure from Tintin in the imaginary Museum of Tintin or Tintin and Bigotudos of Philippe Goddin, both with the Casterman editions.

Graphic cutting

The first stage is quite naturally to find a Scénario, simplest possible, to pose the terminals of the history to be told. Graphic cutting comes thereafter to develop and enrich this scenario. At this stage, Hergé summarily draws the sequence of the boxes while being ensured to put a point of organ at the end of each page. The dialogs and the characters are drawn very quickly, without the decorations. It is thus with this stage that the history takes its form.

Crayonné

Once established cutting (there can be tens of drafts…), Hergé passes to the Crayonné. It then uses sheets of 30 cm 40 cm. It is at this time that it attacks truly the Dessin. It draws the characters then, not hesitating to erase and erase until transpiercing the Papier… Souvent, it asks his collaborators to outline it in the installation which it wants to give to its character, always with the preoccupation with a truth that one knows to him. Lastly, when all crayonnés are finished, it takes a Calque of all the boxes, choosing the feature which is appropriate best and benefitting from the occasion for recadrer of the elements. Once that made, it transfers the drawings on a clean board.

The setting with the Net

The crayonnée board obtained comprises all the characters but the decorations only are summarily outlined. They is at this time that the collaborators of Hergé come into play and undertake to draw the Véhicule S, the Paysage S, the Uniforme S etc, while respecting the general style as much as possible. Once again, verism obliges, Hergé and its collaborators do not hesitate to go over the spot to take sketches and photographs. When all is complete, the board is ready for the setting with the Net, the feather and the Indian ink. Meanwhile, the dialogs are re-examined and corrected, the number of letters and signs counted and the drawn Phylactère S. After a last checking, the boards are dispatched at the Photograveur.

The setting colors and dialogs

A little later the studio receives a series of photographic tests, format of publication. Those intended for the Coloriage are drawn in a tone blue-gray (called “blue”), accompanied by a film of the board in black and white. The coloring is carried out by the collaborators of Hergé (colourists), who use according to the case of the Aquarelle, of the Écoline or the Gouache. Feature characteristic of Hergé, the colors are applied in flat tints, without ranges, which gives according to him a greater lisiblity and more freshness. As for the dialogs, they are drawn by a specialist (called “lettror”) on a special test, for each foreign translation. Lastly, the Onomatopée S are generally drawn by one of its assistants.

The end result

Once the completed work, the tests are sent in the photoengraver who combines the layout in black, the colored board and the dialogs. It any more but does not remain to start the rotary printing-presses and to dispatch the very fresh albums with the four corners of the world…

Source

With discovered of Tintin the text is conceded in public domain by its author. See this page