In art, practice always comes before theory.
Look at related industries. Concept art for games and film. Animation. Lots of places to hone your skill as an artist and still earn a paycheck while you're waiting to kick the door down. If you're stubborn though, and you absolutely must draw comics because it's your life's dream (and I don't blame you...) you just better make sure you've got something special.
It takes a long time to make a painter - even with a good artist's education - but without one it tries the patience of Job; it is a great thing if one does not go backward.
The wonderful news is that when a person with my lack of art background can be successful, then anyone can. I'm not super talented and had no art training. Nothing, nada, zip. No workshops or classes.
It takes time to learn to draw. It takes years, not a few weeks.
Students work in schools making life studies for years, win prizes for life studies and find in the end that they know practically nothing of the human figure. They have acquired the ability to copy.
As for techniques and processes, as seen in the works themselves, neither public nor artists will find anything about them here. Those things are learned in the studio and the public is interested only in the results.
Learn to draw. Try to make your hand so unconsciously adept that it will put down what you feel without your having to think of your hands. Then you can think of the thing before you.
Most children are given far too much praise for their early drawings, so much so that they rarely learn the ability to refine their first crude efforts the way their early attempts at language are corrected.
What I always longed to do was to be able to paint like I can draw, most artists would tell you that, they would all like to paint like they can draw.
The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. The professional is sly. He knows that by toiling beside the front door of technique, he leaves room for genius to enter by the back.
There has never been a boy painter, nor can there be. The art requires a long apprenticeship, being mechanical, as well as intellectual.
