I posted about my process somewhere recently, but not quite like this.
I have to say I am pretty critical of the video in the initial post. I see some issues right off the bat. I am going to assume that he doesn't do the initial set up each time and that the artist has a template. Having a template is imperative. Make a new page that will be the template. Set up the dimensions exactly, set up guidelines, then set up the layers. CSP does the first two things automatically, but I still have a template for my pages because of all the layers that are required initially.
If you think you might print the comic later, you need to take that into account right away because you have to account not only for bleed areas, final print size, and resolution, but also the "safe" zone which is the area where text and other vital elements should be kept within.
Here's what my template looks like:
The white box with an outline is the safe zone so I try and keep everything in there. Then there's the edge of the page, the bleed, and the crop marks.
For layers, I have two sketch layers (one is a quick sketch, the other is detailed sketch). Then in the frame border folder I have a layer for SFX and word bubbles which I keep as a vector layer. Then the main lineart raster layer, then white ink layer, then a black fill layer, then two comic tone layers. I use mainly these two comic tones so I added them to my template because I do want the tones to be consistent across every page. Then the background layer which is also a vector layer.
I use vector layers for those two because CSP has an extremely convenient tool that lets you erase a segment of a line between other vector lines. A bit difficult to explain. However, I keep the lineart layer as raster because the line quality of the vectors in CSP can be a bit funky and they can be otherwise difficult to control.
First step is I divide the frames using the frame border tool. The frame border tool remembers the size of the horizontal and vertical gutters so they will be exactly the same every time. No matter what program you're using, the gutters should be exactly the same 100% of the time (or I should say 99% of the time since there are exceptions), so I don't recommend the way he did it in the video because they vary too much. This is why it's good to draw on paper that has lines if you're working on paper.
I have thumbnails in a notebook that I use as a basis for making my frames. I just eyeball them and then make adjustments as needed after all frames have been divided.
I type in all of the text into the text layers. Then I do the sketching. I use the text layers I made as a reference for the word bubbles. I do the SFX and word bubbles, then the lineart, then the backgrounds, then comic tones & black fills, and then the white ink.
I turn off the text layers and export as a full size PNG. I then open a previous PSD page in Photoshop and Save As the new page. I do this because it has guidelines and text layers set up in it already. I then drag and drop in my new page, delete the old page and old text. Then I copy and paste the text from CSP into Photoshop because I don't like CSP's text tool and Photoshop gives me more control over it.
I then use the PSD file to save the variations and make the thumbnails and stuff via the Save For Web option.
I then back up into my Google Drive.
Then I post! \o/