Progress here comes from consistency, not intensity. Structure it like this:
Two sessions of 45–90 minutes a week (or one longer weekend block plus small doodling on the side).
Split every session roughly 50/50 — structured exercise from your current phase, then free “play”: doodle your own characters, copy cartoons you love, sketch from shows.
Don’t chase finished pieces early. The reps are the point, not the polish.
Expect each phase to take months. That’s normal, and it’s what makes this sustainable for five years instead of five weeks.
Supplies — keep it cheap
✎ HB pencil + a softer 2B/3B
✎ Vinyl or kneaded eraser
✎ Canson XL or Strathmore sketchbook
✎ Staedtler Mars Lumograph pencils
✎ A pack of fineliners (for Drawabox — ink only, no erasing)
✎ Printer paper is fine to start
Three books worth buying (~$70 total, one-time)
Everything else in this course is free, but three real, proven, expert-designed texts are worth
paying for instead of us improvising an equivalent from YouTube:
You won’t open any of them right away — Brunetti’s escalating drills, Barry’s teaching
approach, and Mateu-Mestre’s panel-staging system all come into play starting at the comics
module — but all three are real, classroom-tested courses in book form, worth ordering now.
Start this now: the 4-minute diary
Before any fundamentals, start a habit you’ll keep for the whole course — Lynda Barry’s
4-minute diary.
Split a page into four boxes: 7 things you did (2 min), 7 things you saw (2 min), one thing you
overheard (30 sec), and one quick sketch from the day (30 sec).
why it matters
It takes zero drawing skill to start, and it builds the observation and finishing habits that
storytelling actually depends on — running in parallel with the hand-control drills in the next
module, not after them. Do it a few times a week from here on, for the whole course.