A fan asked me to also specify different ink rendering(s) of textures. I will on my next post, once I go in and start inking the fine details. This portion is basically building your foundation: make sure that when u spot your blacks, it makes SENSE. No point in having spotting occurring all over the place. Consider your light sources: where is it coming from? How does it relate to the characters in question? Food 4 thought, young padwan. :)
Part III - Ok, I've now begun to spot the blacks on the page. I went in with a Staedtler 0.25 and cut the areas that needed blacks added. Then, I used my brush to lay it in. For the large area in panel 2, I used a Q-tip to fill it in (Yes, it WORKS). I know that alot of tense dialogue is happening in this page, so I added a bit more darkness to the male character's face...so that when I begin my hatching, I will add 2 the drama by accentuating certain features in his face.
A fan asked me to also specify different ink rendering(s) of textures. I will on my next post, once I go in and start inking the fine details. This portion is basically building your foundation: make sure that when u spot your blacks, it makes SENSE. No point in having spotting occurring all over the place. Consider your light sources: where is it coming from? How does it relate to the characters in question? Food 4 thought, young padwan. :)
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Here is the 2nd part. I first outline all of the contour lines on the figures. Taking this approach helps to ensure that you maintain the proper depth of your page, to give it both a 3D effect and 'pop'. I save the background work for last. It helps to communicate with your penciler at this point. If that's not possible, ask the writer for a copy of the script: it's good to know where the action is occurring, as your job as the Inker is to lead the reader's eye to the action in every panel. Even on a page like this, with mostly dialogue, you can still use this tool. It takes time and ALOT of practice. But, if you are diligent and committed, it will happen. I use Hunt 103 crowquill, a 5.0 liner brush and a mixture of ink (Thanks to inking guru, Tim Townsend) that gives me the maximum density. Since I am working on bluelines, it helps 'sell' the page. Any thicker lines I go over again with the brush. Next up: Spotting your blacks properly. |
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