Cheers Jay - pleased you like it man I think I got so caught up in trying to stick to the pencil work that I overlooked issues like the broken holding line for the cape - now that I look at it you're completely right, it doesn't work. Before con season comes around this side of the Atlantic I think I'll redress that and correct some of the lineweights - just starting work on some sequentials at the moment to start piecing together the folio, got a couple of months get things in order I reckon (would have loved to have made it to NYCC, hopefully next year!)
Post by clockwerkj on May 17, 2009 12:30:34 GMT -5
Pretty sweet overall. One thing to work on is the speed & action lines. Hey are pretty chunky & dont taper much. John Holdredge, when I did some background work for him said that on those types of lines, there are 2 things to consider. First, Is it presenting an object in abstract, or is it just to create eye movement? Second, is it trying to indicate physical movement like the flash running? If its the first do them fat to thin, & be dramatic. If its the second do them flat with a tech pen & just let the pens in skip to break it up at the end. You could also use white to heighten the effect, which you did, but the edge of the white needs to sit on a black line, it cant just float in space or appear dry & crumbly. Good stuff, Jay
Cheers Jay - I hadn't thought of distinguishing between action and speed lines before, but I think that's more for not having done many pages with them. Do you use a nib for speed/action lines? I used a rapidograph which is why I think they came out a bit chunky, but I was struggling to think of another way of the getting that precise look.
I tried the drybrush of white in the second panel to add some texture, but I agree it looks like it's floating a bit - some harder curves of white would have worked better.
Glad you like it though man - Just saw the preview of Uncanny 510 on Newsarama and the last preview page (5?) of Wolverine launching into attack looks REALLY sweet!
Post by clockwerkj on May 18, 2009 10:21:46 GMT -5
Thanks Tom, The quick and dirty answer is Speed lines= Tech pen & Action Lines= Crow Quill but not always. Its important to build a set of rules for yourself of what good inking looks like. Not the fancy extras like broken lines or thorny lines as in the Top Cow stuff or JSCambell nubby lines, but thick to thin ranges, & things like that. Once you have this set of rules in place then you can start to break them for the purpose of creating a personal style. Its just important to remember that there are basic rules that apply that make you a professional. It's knowing how to break them that makes you a star.
Post by TomParrish on May 31, 2009 12:02:09 GMT -5
Pencils: Eddy Barrows Inks: Me
Don't know how well the scan's come out on this one - really loved the pencilled page and saw it as a real challenge so figured I'd have a crack! I think Ruy Jose is more of a quill inker so thought it'd be interesting to contrast brushwork over Eddy's pencils instead.
Fought the background of panel 1 a bit, I think there was an element of overthinking the rendering a bit - I guess it's a case of doing a whole bunch more pages with that kind of rendering to experiment and learn!
Contour work is solid & easy to read. The renders are off. Eddy sortof requires the thin Quill thing. There are a few guys who get a good approximation with a brush, but it is an exercise in hand cramps. J
I kept in mind the 1st rule of 'do no harm' to the pencils, but I found I was fighting it a bit. Right tool for the right job - I agree I should have switched up to render with a quill, I just feel I have a lot more control with the brush. Any tips on building confidence/control with a crow quill Jay? Are there any artists/pages I should try working over or looking at in particular? I've watched the Gnomon Joe Weems DVD, but it's quite difficult to interpret the motion of using the quill from watching close up. Practice and more practice I guess is one solution..!
Post by clockwerkj on Jun 10, 2009 10:15:32 GMT -5
I can honestly say, Joe is an anomaly. That dude can make any line he wants, space them however he wants & it always turns out cool. The best trick I learned was to use a french curve to throw, literally every quill line on guys like Andy Park & Randy Green. as time goes on you stop doing that on the shortest ones, until eventually you can do any line without it. That will slow you down considerably, but it also trains your hand more by taking away some of that lack of confidence. I started at Top Cow having only used a quill on maybe 4-5 pages ( badly) & could fake alot of it with a brush. The curve trick is one of the things that built up my confidence over time. j
I'll give that a go man - I've started using the quill with a straight edge for speedlines, but haven't yet tried with a curve. As much as anything else I think it's also a case of getting my hand used to a completely different type of movement/sensation to the brush - It doesn't help as well watching a video of Joe making it look so d**n easy! lol
I think I might have Ed Benes page floating about somewhere that I might have a crack at, unless you have any other suggestions of a good place to start?