Doujinshi is the word I have found that describes "single producer creation". My absolute favorite comic book artist is Jean Giraud (Moebius) because of his ability to do so much individually. Osama Tezuka is also fantastic. Looking at Dororo's giant wedge of pages makes me take heart that one man can so easily just GO like that. What makes one man better than another? Nothing, in the ultimate scheme of things. The best directors are wrapped up in their objectives. The musical NINE describes each one as completely obsessive. Unaffected by the outside world, save for funding their ventures. They live in dreams. (Let yourself dream~) I was trained in Animation where it is all segmented, from the hours and hours to the individual splicing of the second. The amount of work is dense and highly depends on the need of the project. Hence why Animation is never "finished", but rather there are deadlines for release. That's what I see at least. Make sure you are not skipping ANY tools that propel you forward. There is no "wrong" answer in art. If it is made, it is made. As long as it is not plagiarized, make it easy on yourself ALLLLL day long. Unless your aim is perfection. I prefer Wabi-Sabi and Kintsugi as my goal. Beastars' Paru Itagaki smacks of that vibe and it's selling like gold. It is far more freeing of the soul, even if my objective is refinement in any creation. It is best not to lead by perfectionism. It is the destruction of production of any kind. To the audience it destroys elation. Make it and show it whether anyone hates it or loves it. That is how you rise above it. <3 The team will assemble the stronger you dream~ That is why I still consider Walt Disney the King.

Sadly since comics became a real industry competing to lower price, the "team industry" won mostly. But in Europe it's not uncommon to have "solo artist" for all the graphic part and with just a writer (or not, depend). As full artist/colorist and often text and cover I can think of these one : Olivier Ledroit (Requiem, Dark Moon Chronicle, Shaa, ...), Juanjo Guarnido (Black Sad), Rosinski (Thorgal), Laurent Vicomte (Sasmira), Julliard André (Masquerouge, les 7 vies de l'épervier), Enki Bilal, ... I can find more from less known series I think. In more modern style I would need to search a bit more because I stopped reading for a decade and name didn't stick so easily. Note that some of these books were first published with weekly edition of a few page, back in the days. Which is not very different compared to weekly webcomics release. While it's not "web oriented" I though a bit of old fashion could also interest you... Hope that help...

So, the number of people working on a comic depends on editorial requirements: if you look at American comics there are people assigned to each step because of the processing times but as far as webcomics are concerned there are usually no more than one or two people working on them (in the case where one writes and the other draws). Generally though, when it comes to webcomics it's more a matter of 'we're friends and we want to do this thing together'. In some cases, when a webcomic author achieves enough success and earns enough money, it happens that he hires an assistant to help him with the colouring so that he can publish more weekly episodes (this is the case of the author of the webcomic Wild Life, which I have been following for years). In publishing, on the other hand, in extreme cases you have one person who takes care of the subject, one who writes the script, one artist who only takes care of the pencils, one who inks, one who colours, one who types (sometimes a specific person for noises), after that layout artists, graphic artists, profreaders, etc. But this is because it is necessary to bring out a complete chapter every month. In the case of a webcomic, you decide the pace: you can decide to start by going out with just one page a week (usually everyone starts that way, as you have no way of knowing if you'll have enough readers to afford more effort) but also more, depending on how long you need to finish a full page. In the beginning, however, I recommend that you only publish one page and keep the extra ones to cover unforeseen events; you may get sick, your computer may break down, you may simply not have the right inspiration to work one day or lose more time than expected on a scene. In this way you will work with less stress, not having to have your days numbered to publish the page without missing the day of release. Also take into account that you will have to dedicate a few hours each day to managing your social profiles and the platforms where you decide to publish (it is better not to do this in one place and not to sign exclusives with any platform).

You can absolutely do it on your own.... check out this gal: http://www.sssscomic.com, this is a one-person comic and its already 2000+ pages long... i started following it in 2017, looks like she's still going strong, with beautiful pages and 4 updates per week. she had a 700 page one completed before started this one even... the problem is your time and maybe job... as a student i got school work to do that's not remotely related to art, i'm not sure if I'd also have time when i came out of it :( And also your workflow matters... I can craft out a spread in like 4 days in the style i like but that's not doing anything else, and that surely isn't fast enough for publishers. If you are just doing it for yourself, then i don't think there's anything stopping you. My take is just to look after your eyes.

Hello, examples of solo authors: https://instagram.com/koteriink https://www.instagram.com/johnkillink https://www.instagram.com/raultrevinoart Hope they help!

Speaking from my experience, I plan on doing pencilling and inking. Colors and letters are something I will hire out. There will be 3-4 of us when its all said and done. I currently hire an assistant to gather reference for me. I work 65 hours a week at two jobs so I simply dont have time to do EVERYTHING if that makes sense. As far as submission to publications, focus on writing the story, and completing 6-8 pages of artwork. A lot of publishers only need to see that many pages to make a decision. At the end of the day, It comes down to how much time you have to invest, If I could spend 12 hours a day making comics, it would be a totally different ball game, so you have to adjust to fit your goals and lifestyle. I hope this helps https://www.comicbookschool.com/comic-submission-guidelines/

It takes an army for the big publishers because comics take a lot of time. About the only way most comics would come out on a monthly schedule is to use an assembly line process. There are plenty of people who do comics on their own. Jeff Smith, Terry Moore, Faith Erin Hicks, and Daniel Warren Johnson are just a few recent examples, but I'm sure there are tons more. The challenge is going to be production schedule if you have to do something else for money or otherwise have significant time commitments elsewhere. Instead of a page a day, you might only be able to do a page or two a week. A page a week gets you 52 pages a year, which isn't bad for a side project. My recommendation, if you have never done a comic before, is to start out with short stories--anywhere from one to eight pages. This will give you some room to experiment with processes and tools. You don't want to get 15 pages into your big project only to realize you need to redo them because you figured out a better style. To bring up the subject of your previous topic on when to know you're ready--when it comes to comics, I think people get it backwards. Do comics to learn to draw, not the other way around. Wrestling with a comic book script will throw so many problems at you that you have to solve, that in the process of solving them, you will continue to level up, putting more and more tools in your toolbox the whole way. It will also give context to the things you are learning here. I hope you give it a shot. Comics are a great medium.