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Post by julienhb on Nov 27, 2008 5:21:01 GMT -5
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Post by julienhb on Nov 27, 2008 5:25:48 GMT -5
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Post by julienhb on Nov 27, 2008 5:29:03 GMT -5
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Post by julienhb on Nov 27, 2008 5:30:03 GMT -5
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Post by jimmyt on Dec 1, 2008 20:03:42 GMT -5
Werlcome to The Inkwell Forum and thanks for sharing.
My only crits are the following;
It might be due to the bluelines that you are straying a tad from pencils.
You have a nice style coming in, and it just needs practice on thick to thin lines coming out of they blacks.
Those lines are a gradient from black to white to represent shading in ink form, gradually.
Lastly, your line weights are back and fourth on a few pages where you want to go from the furthest plane thin, and bring the weights up as you get to the closer planes, adding weight to the opposite side of the light sourceas you go.
But all in all, you have been working hard and I don't think it will be long before you become a contender.
Thanks for posting.
Jimmy T
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Post by julienhb on Dec 4, 2008 8:36:57 GMT -5
Thank you again for your comments.
Yes, I sometimes have difficulties to have nice blue line page. Sometimes it's too thin and not dark enough. But it's tricky because when I darken the page, the blue ink from the printer makes a kind of glossy effect and my ink doesn't stick to the page...
I think I know what you mean regarding line weights. I ink from foreground to background having thiner lines in the back. But I think I should try the other way around and start with background and having heavier lines when I'm aproaching.
I'm aware I'll need some more months of practice before being taken seriously by publishers...
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LeviS
New Member
Posts: 30
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Post by LeviS on Dec 5, 2008 3:46:58 GMT -5
But it's tricky because when I darken the page, the blue ink from the printer makes a kind of glossy effect and my ink doesn't stick to the page... Are you using a lazer printer, or a inkjet printer to print your blueline? Lazer printers use plastic to print. The way it was explained to me, is the plastic will not allow the ink to bond with the paper.
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Post by julienhb on Dec 5, 2008 4:20:56 GMT -5
I confirm, this is lazer printer - the advantage is that I can print in large sizes... But I'm fully aware it's not perfect...
Unfortunately, at Office Depot or their competitors where I live, they all have lazer printers.
So I have to play with the levels in order to have light but clear blue lines on my page.
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Post by TomParrish on Dec 5, 2008 7:15:46 GMT -5
I've had the same problem when getting prints done at copy shops (using colour laser printers) - I've found that if they drop the density setting on the printer that it works fine - Laser's great if you want to ink wash etc. over the top, as inkject bluelines run and bleed when they get wet, otherwise I'd try and stick to inkjet prints as I've had much less hassle with them.
Trying to get 'the right' cyan level to see it AND be able to remove it easily - that's another issue!
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Post by julienhb on Dec 6, 2008 6:18:51 GMT -5
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Post by clockwerkj on Dec 7, 2008 23:25:40 GMT -5
Your work looks really good at the size you post them. When they are looked at full size your line quality falls apart. part of that could be the bluelines, but thats not all to blame. Take a look at the black & white scans of other inkers you admire. look at the individual lines to see what it is that makes them good. You get the overall point across, but the details are off. Keep it up.
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Post by dave on Dec 12, 2008 1:29:34 GMT -5
My approach on line weights is to have the thinner stuff in the back, of course, but it's not just a question of it being "thinner". A skinny line is the barometer of inking skill to idiots. People know THEY can't make that line, even with a pen, so they're wowed. Too many "inkers" in the late 90s had nothing but a skinny pen line going for them. I think the thing is to have the more prominent elements-or the elements you wish to MAKE more prominent-be delineated by linework that has more character, or as Joe Rubinstein would say, personality. In my own work even the "dead" lines, such as on a ruled piece of machinery, have some degree of "bounce" to them. It depends on how the whole thing works together. There's a lot of cartooniness and life in even my straightest work. That's where an inker brings something to the work. Look at my work over Gene Colan and compare it to Tom Palmer, Joe Rubinstein, Alfredo Alcala, or Bob Mc Cleod. It helps to see how different inkers approach the same penciller. I always use Gene as and example because he always did full pencils and had a variety of skilled inkers, unlike my teacher, John Buscema, who might have done breakdowns only for any given story after about 1975.
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Post by julienhb on Jan 16, 2009 8:12:17 GMT -5
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Post by julienhb on Jan 21, 2009 7:26:03 GMT -5
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Post by clockwerkj on Jan 21, 2009 14:57:10 GMT -5
all the super thick lineweights in the background are way off. The guy on the stairs appears to be floating. Your rendering is greatly improved. Sometimes consider fixing bad drawings like the girl in the frontseyes ot being properly aligned. Also the coupled hands in the bottom left are a bit confusing. At first glance i thought he was the 6 fingered man... Not bad really over all. I like the midground figures weights, you just ahve to pay more attention to who shares the same planes & therefore the same lineweights.
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