Thank you very much. :D

Process from start to finish:

First I plot out the overall story in very rough form - starting with a bullet list of key events I want to include, then breaking down roughly how many pages it'd take to depict said events. I end up with a very basic synopsis for each page, usually no more than three lines - how the page starts, the key event that takes place, and how the page ends.

My general rule is to keep the pacing as tight as possible, and I think it's very important to make sure that each page (a) contains something that advances the story, and (b) ends on a note that invites the reader to turn the page. I think I broke this rule with "The Silver Chain" where there was a three- or four-page chase scene, but I justify that as necessary to build tension and help with the pacing of the overall story.

I try to keep the page number in multiples of 4 for printing purposes.

Next I sketch the thumbnails, very loose pencil on paper at 1/4 actual size, just to plan out page composition, panel layout, poses, etc. This ends up as a small scribbly A7 booklet, and helps me see how things look on facing pages. I tend to stick to a fixed range of panel sizes - usually a third of a page tall, and some combination or multiple of half, quarter or third of a page wide. This is a deliberate choice to prevent me from going crazy and having pages with upwards of a dozen panels, as I did in "The Well of Stars".

Then on to the digital work, all with the Wacom. I set up a file with the panels, borders and gutters, copy the borders layer across to a new file and shrink it to half size. "Pencils" are drawn using a 50% opacity 3px round brush, blue because it makes me feel like a pro. ;D

Once the pencils are done I transfer them back to the original file, blow them up to full size again and start inking - 3px round brush, 100% opacity. I don't use the pen tool because I really don't get on well with vectors. My inking technique is probably pretty obtuse, given that it involves making a lot of mostly-straight strokes and erasing unwanted bits to produce nice crisp angles, but it gives a result that I like.

Once the linework's done I duplicate the ink layer a couple of times, collapse those into one layer again to make the linework heavier, then Threshold the layer so it's pure black and white - no greytones. Fill inking is done with the magic wand tool on another layer - it's mostly a subtractive process, starting out with a complete black fill and clearing out the white sections.

Next I duplicate the linework layer, colour-invert it so it's white, and that gives the line reversals. Selecting the unfilled sections and expanding that selection by a few pixels lets me erase any white-on-white lines, and after a bit of cleanup that's pretty much all of the inking done.

Lettering is pretty straightforward, and it's at this stage that most of the dialogue is actually finalised. I have a rough idea of what's going to be said, but don't completely nail down the wording until right at the end. Lettering done, the whole thing gets flattened and saved as a bitmap (so pure black-and-white, no greytones), then shrunk down to web size. The original files are 8"x6" at 600dpi, the files I post to my site are 1050x700px.

Annnd that's about it. Lather, rinse and repeat for each page until the chapter's complete. :D