Eventually, I had an entire page's worth of panels done (as defined by the script, and which would be presented on the web site as one page), on three or four sheets of bristol. Maybe I even collected two pages' worth. At that point, it was time to get the art scanned and uploaded to Adam. That was another multi-stage process, and not my favorite part of it, which is why I tended to wait until I had a couple of pages of material ready, so that I could do it all in one go.
First, I made photocopies of everything. I made a reduction copy, from 11"x14" originals down to 8.5"x11" paper. (I used the 11"x17"->8.5"x11" reduction setting, whatever percentage that works out to.) There were a couple of reasons for doing a reduction while making copies. One, it cleaned up the art a bit, sharpening some things and smoothing out rough spots. Two, it was easier to carry around, and to store, standard letter-sized paper copies. I made two copies of each bristol page, one to archive, the other set to scan and then carry around in a notebook for future reference. (The best reference book I had for the series was my own art on earlier issues.) On rare occasions, I made a full-sized photocopy of a page if I particularly liked the art, but that was just for my own enjoyment.
Next, I separated and collated the copies I just made. One set of the copies, and the original bristol pages, went into my archival files. The second set of copies were scanned at 300dpi, as black-and-white line art (bitmap, not grayscale), into Photoshop.
I did a tiny bit of clean-up on the scans (eliminating black speckles that were introduced in the photocopying process, usually), but mostly I just collected them into one big file that represented all of the panels for a particular page, ordered top to bottom. It was up to Adam to place the panels in whatever final arrangement he liked, with word balloons and sound effects (his job) added on top. I just send him the Photoshop file, still 300dpi, and then it was out of my hands.
There were many occasions when I had to make real use of Photoshop to create the final artwork, because special effects of some kind were required. The most common one was when the script specified that the background remain static while the foreground elements changed over multiple panels, requiring me to draw foregrounds and backgrounds as separate plates which were composited together. There are examples of this in pretty much every issue, but Page 5 and Page 7 of issue 2 are obvious uses of the technique. I think I told Adam to lay off using that technique quite so much after that issue.
My answer to the standard question of, "Do you imagine an audience for the work when you're doing it?" is that I was working to please only one person, Adam himself. I usually got feedback a few hours later from Adam. A good 90% of the time, he was effusively positive; he tended to like the work more than I did, and didn't skimp on praise when he liked something.
There were always occasions when he asked for something different, a change in a detail (one time, he thought a character's nose was too sharp), or perhaps a bigger change (another time, he asked for a group of characters to be drawn wearing different outfits). There were a few times when a panel needed to be redrawn from scratch, but that was only in the early days. This was not a big deal, because it meant that it was important, or he wouldn't have requested it.
And sometimes, Adam ended up dropping a panel from the final comic. Each time this happened, I agreed with the decision once I saw the finished page. It was a bit sad to have spent the hours vainly, but this wasn't a very big deal in the long run.
Drawing Academy X was something I volunteered to do because I figured it would be worthwhile, and it was. I consider it to be a success, and I'm proud of the work I put into it.
Adam has plans to continue the ACX series far into the future, and I wish him well with it.