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INKING CLASS - PROGRESS
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Dudesoft
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CloseComic Book Inking: 4 Perspectives!
A course from Toronto Cartoonists Workshop.
This is a progress report from an inking course I've been taking. At first, I considered not posting this here; however, I miscalculated how many cool projects there would be!
This course is taught by four different comic artists...
Teachers so far:
Pat Davidson (first two classes: taught brush work. How to handle the tools, and some great application techniques. Fundamental stuff.)
Ty Templeton (second two classes: taught line weight, three-dimensional shading, organic vs inorganic material inking, textures, depth theory, and many other useful techniques!)
**if you are interested in seeing my lines more clearly, I suggest going to my deviantart at http://slaymanexe.deviantart.com**
On to the art!
Knowing that I'd be starting an inking course -and- missing the first class, I took it into my own hands to start practicing. The resulting monstrosity ensued...
First week, I unfortunately had to miss for work. :( Sucked! However, the assignment was inking Hulk vs. Thor (pencil by Ed McGuinness) Here is the progress in three stages. Learning, applied, and finished.
Learning how to handle my brush and quill:
-note the X's on his body. Those are areas to fill in with black.
Applying my learned brush work: (Brush is now my tool of choice. Brushpen is equally as awesome)
Finished Project
Next project, I do not know the penciller for this. If anyone can figure it out, that would be much obliged. Unlike the Hulk vs. Thor, this features a full comic page, rather than a splash panel (full page image). There are therefore minute details and more to pay attention to.
WIP Project 2
*That is not quite as far as I am on that page. However, I have paused work on it for now.*
This was the last bit from Pat Davidson; Now we move on to Ty Templeton.
Between the last class with Pat, I met someone at work (Pearson Toronto Airport) who apparently inks professionally with an airbrush as a hobby! I was -not- expecting to meet this guy... However, you really never can guess what people do in their time away from work. Even met a philosopher once. He helped me through a tricky part of my life. This is rambling... >_>
Alright, so this guy saw me inking a picture for fun; and gave me some good pointers about shading at night.
-The colours across the board will have a blue tinge. K-hos has in the past noted this to me. (see: here)
-Shadows will cast very far away from the light source.
-The shading on the figure will be heavy, away from the light source, followed by a thinning hatching (explained later) or darker colour.
-In daylight however, the shadowing on the figure would be lighter with very little black areas. The shadow on the ground, in daylight, is small and below the feet.
My co-worker elaborated by showing off cast shadow; esp. when strong light. (here as headlights or a flash light)
-Note the heavy black away from the light source
-Note the cast shadow on the wall becomes nearly a replica of the object/person.
The image I was inking for fun, was this:
(Do not know the penciller)
On to Ty Templeton...
Before we got started really, Ty taught us hatching. Lines in a row to create a sharktooth black/white effects. When reduced in size, the lines become a 50% grey grade, or more depending on how many times you hatch over an area. Also, to prepare for working on an image, the inker should have a spare page of paper for testing out the tools. You need to find your line with each marker, pen, brush or quill. No two tools are the same. Ty repeated the thoughts of another artist (whose name escapes me) saying that he asked, 'what brush do you use?' the other artist said, "whichever one I pick up."
(or something to the effect.) So, we get my craptacular hatch sheet:
One of the first assignments was to simply demonstrate line weight and depth.
-Note the heavier lines in the foreground, medium lines in the mid-ground, and smaller lines in the background.
-Note the heavier lines on the bottom (heavier and darker) than the top of the leafs. The side closer to the light source (see: small sun icon) is lighter in weight.
-Note the unrealistic shadow that covers the leaf or stems below the image in front of it. This is a comicbook inking 'cheat'. It lifts the images defining depth to the eye.
Since the purpose of comics is "art to be read", art takes a backseat to storytelling. That's why you will see these cheat shadows all through comicbooks. It helps show the story, rather than the art, if you get me.
We were given some hatching assignments to work on, here is what I managed before time was up:
After this, we looked at using big, dark shapes to move the eye through the comic page. IE:
-Note the heavy lines point your eyes towards the right panel across the top. The shadow then pulls you down into the middle of the next panel, and again into the next.
-The eye looks for big, dark shapes first. This is a common technique, something I am still struggling with in some cases. Though, it is getting easier.
Next, we learned some textures. Our assignment was to do an object in six different textures. Thanks to a certain game, I failed this small homework task.
-Glass, Rock
-Fur, Metal
-Sponge, and that last one was going to be rubber.
Ty handed out some example sheets for textures to pull off with a brush-pen. There were a lot of interesting looking lines I hadn't imagined.
Shown, here.
Another example sheet gave us an idea of inking water. These were inked by different artists.
Shown, here.
Lastly, showing trees (by different artists).
Shown, here.
He followed this by showing us how to use thick, medium and thin lines to ink inorganic objects (like metal).
I don't have the example he drew for us, unfortunately. However, I do have a car I was working on using a french curve.
-Note the thick lines on the outside, and areas unaffected by other lines.
-Note the medium lines for lines that overlap an area.
-Note the thin lines for details and minor things.
To end the class, we were given a pile of art to ink (optional though I hope to finish) and the project of drawing and inking a 'starving artist' picture. Essentially, it's a scene with a tree, river, a cabin, and mountains. I pencilled this in a few minutes, and inked it in 30-45 minutes.
(Ty wanted the cabin on fire. For him.)
The following is just stuff I've been doing for the hell of it.
-Batsoft, the Economy Batman.
-Killer Whale, the Templar Knight enemy.
New teacher today. One J. Bone <-click name for his blog!
Apparently there's a tutorial on his blog about making proper masks after you've scanned an inked image. I'll fill you guys in when I figure it out this week (I have it off of work, so definitely going to be logging some inking hours!)
So, I have to make an apology for starters. Ty Templeton has been a major influence on my comicbook learning curve. He was the man who initiated me into it, and I've had him a second time (as you can see a few paragraphs up). Unfortunately, I was unaware that he is verymuch a MY WAY OR THE HIGHWAY type of fellah. Do not misunderstand however. He -does- make valid, truthful points in inking and comic design. However, the art of comics is, like any art, up to the artist's style. There really is not RIGHT or WRONG. So, while I do feel a little jaded about some of the linework in my Hulk vs. Thor image... it is by no accounts WRONG. Ty was very ready to tear it apart with criticism, and to his credit, they were in his style of inking, valid. I could too learn to adopt his pointers in turn; however at that point in my learning curve, it was my style.
So do not be discouraged if you start thinking you're doing it wrong. The language of comics is robust and variable. No way is wrong.
Now, enough rambling, on with today's lesson.
J. Bone took this teaching more hands-on. The start of the class was a lot of Q & A about his personal choice in tools and practices. All of which were polar to Ty Templeton. For example: Ty uses brush-pens, Bone uses cheap brushes. Ty practices for 45 minutes on his linework, Bone goes straight for it.
That last point is something to clarify too. Instead of working out the bad lines on a piece of paper, Bone's technique was to use the page to get out his lines. Like, drawing unimportant hands or black areas. Once comfortable, he moves on to the important stuff; like eyes and main figures.
His point of view is that there are two kind of artists, the same way there are two types of actors. There's method actors, and actors who just show up and act.
He began inking the work on the page I'm about to show you. There is a video that the guy in charge of this course took; and I will get that to you ASAP. Apparently he's been taking videos throughout the course, so hopefully you will have some drawing pros to watch on video soon!
Anyhow, here it is (my WIP) of Poison Ivy seducing the Chief(?) I don't know this old man's name actually.
(Pencil by Darwyn Cooke for the Batman/The Spirit one-shot. Characters Copyright DC Comics)
-Note I am "trying" to apply the lineweight techniques taught in the previous class.
There are a few mistakes, though I'll clean that up with white-out once the page is finished (IE: on her cheek someone bumped my table. Damn it all!)
As I've noted, this week is 'vacation' of sorts. So expect lots of updates!
Decided to goof around in Photoshop tonight instead of homework.
Fullsize Deviantart view
If anyone asks if Inking is just tracing, they haven't read the topic.
A course from Toronto Cartoonists Workshop.
This is a progress report from an inking course I've been taking. At first, I considered not posting this here; however, I miscalculated how many cool projects there would be!
This course is taught by four different comic artists...
Teachers so far:
Pat Davidson (first two classes: taught brush work. How to handle the tools, and some great application techniques. Fundamental stuff.)
Ty Templeton (second two classes: taught line weight, three-dimensional shading, organic vs inorganic material inking, textures, depth theory, and many other useful techniques!)
**if you are interested in seeing my lines more clearly, I suggest going to my deviantart at http://slaymanexe.deviantart.com**
On to the art!
Knowing that I'd be starting an inking course -and- missing the first class, I took it into my own hands to start practicing. The resulting monstrosity ensued...
First week, I unfortunately had to miss for work. :( Sucked! However, the assignment was inking Hulk vs. Thor (pencil by Ed McGuinness) Here is the progress in three stages. Learning, applied, and finished.
Learning how to handle my brush and quill:
-note the X's on his body. Those are areas to fill in with black.
Applying my learned brush work: (Brush is now my tool of choice. Brushpen is equally as awesome)
Finished Project
Next project, I do not know the penciller for this. If anyone can figure it out, that would be much obliged. Unlike the Hulk vs. Thor, this features a full comic page, rather than a splash panel (full page image). There are therefore minute details and more to pay attention to.
WIP Project 2
*That is not quite as far as I am on that page. However, I have paused work on it for now.*
This was the last bit from Pat Davidson; Now we move on to Ty Templeton.
Between the last class with Pat, I met someone at work (Pearson Toronto Airport) who apparently inks professionally with an airbrush as a hobby! I was -not- expecting to meet this guy... However, you really never can guess what people do in their time away from work. Even met a philosopher once. He helped me through a tricky part of my life. This is rambling... >_>
Alright, so this guy saw me inking a picture for fun; and gave me some good pointers about shading at night.
-The colours across the board will have a blue tinge. K-hos has in the past noted this to me. (see: here)
-Shadows will cast very far away from the light source.
-The shading on the figure will be heavy, away from the light source, followed by a thinning hatching (explained later) or darker colour.
-In daylight however, the shadowing on the figure would be lighter with very little black areas. The shadow on the ground, in daylight, is small and below the feet.
My co-worker elaborated by showing off cast shadow; esp. when strong light. (here as headlights or a flash light)
-Note the heavy black away from the light source
-Note the cast shadow on the wall becomes nearly a replica of the object/person.
The image I was inking for fun, was this:
(Do not know the penciller)
On to Ty Templeton...
Before we got started really, Ty taught us hatching. Lines in a row to create a sharktooth black/white effects. When reduced in size, the lines become a 50% grey grade, or more depending on how many times you hatch over an area. Also, to prepare for working on an image, the inker should have a spare page of paper for testing out the tools. You need to find your line with each marker, pen, brush or quill. No two tools are the same. Ty repeated the thoughts of another artist (whose name escapes me) saying that he asked, 'what brush do you use?' the other artist said, "whichever one I pick up."
(or something to the effect.) So, we get my craptacular hatch sheet:
One of the first assignments was to simply demonstrate line weight and depth.
-Note the heavier lines in the foreground, medium lines in the mid-ground, and smaller lines in the background.
-Note the heavier lines on the bottom (heavier and darker) than the top of the leafs. The side closer to the light source (see: small sun icon) is lighter in weight.
-Note the unrealistic shadow that covers the leaf or stems below the image in front of it. This is a comicbook inking 'cheat'. It lifts the images defining depth to the eye.
Since the purpose of comics is "art to be read", art takes a backseat to storytelling. That's why you will see these cheat shadows all through comicbooks. It helps show the story, rather than the art, if you get me.
We were given some hatching assignments to work on, here is what I managed before time was up:
After this, we looked at using big, dark shapes to move the eye through the comic page. IE:
-Note the heavy lines point your eyes towards the right panel across the top. The shadow then pulls you down into the middle of the next panel, and again into the next.
-The eye looks for big, dark shapes first. This is a common technique, something I am still struggling with in some cases. Though, it is getting easier.
Next, we learned some textures. Our assignment was to do an object in six different textures. Thanks to a certain game, I failed this small homework task.
-Glass, Rock
-Fur, Metal
-Sponge, and that last one was going to be rubber.
Ty handed out some example sheets for textures to pull off with a brush-pen. There were a lot of interesting looking lines I hadn't imagined.
Shown, here.
Another example sheet gave us an idea of inking water. These were inked by different artists.
Shown, here.
Lastly, showing trees (by different artists).
Shown, here.
He followed this by showing us how to use thick, medium and thin lines to ink inorganic objects (like metal).
I don't have the example he drew for us, unfortunately. However, I do have a car I was working on using a french curve.
-Note the thick lines on the outside, and areas unaffected by other lines.
-Note the medium lines for lines that overlap an area.
-Note the thin lines for details and minor things.
To end the class, we were given a pile of art to ink (optional though I hope to finish) and the project of drawing and inking a 'starving artist' picture. Essentially, it's a scene with a tree, river, a cabin, and mountains. I pencilled this in a few minutes, and inked it in 30-45 minutes.
(Ty wanted the cabin on fire. For him.)
The following is just stuff I've been doing for the hell of it.
-Batsoft, the Economy Batman.
-Killer Whale, the Templar Knight enemy.
New teacher today. One J. Bone <-click name for his blog!
Apparently there's a tutorial on his blog about making proper masks after you've scanned an inked image. I'll fill you guys in when I figure it out this week (I have it off of work, so definitely going to be logging some inking hours!)
So, I have to make an apology for starters. Ty Templeton has been a major influence on my comicbook learning curve. He was the man who initiated me into it, and I've had him a second time (as you can see a few paragraphs up). Unfortunately, I was unaware that he is verymuch a MY WAY OR THE HIGHWAY type of fellah. Do not misunderstand however. He -does- make valid, truthful points in inking and comic design. However, the art of comics is, like any art, up to the artist's style. There really is not RIGHT or WRONG. So, while I do feel a little jaded about some of the linework in my Hulk vs. Thor image... it is by no accounts WRONG. Ty was very ready to tear it apart with criticism, and to his credit, they were in his style of inking, valid. I could too learn to adopt his pointers in turn; however at that point in my learning curve, it was my style.
So do not be discouraged if you start thinking you're doing it wrong. The language of comics is robust and variable. No way is wrong.
Now, enough rambling, on with today's lesson.
J. Bone took this teaching more hands-on. The start of the class was a lot of Q & A about his personal choice in tools and practices. All of which were polar to Ty Templeton. For example: Ty uses brush-pens, Bone uses cheap brushes. Ty practices for 45 minutes on his linework, Bone goes straight for it.
That last point is something to clarify too. Instead of working out the bad lines on a piece of paper, Bone's technique was to use the page to get out his lines. Like, drawing unimportant hands or black areas. Once comfortable, he moves on to the important stuff; like eyes and main figures.
His point of view is that there are two kind of artists, the same way there are two types of actors. There's method actors, and actors who just show up and act.
He began inking the work on the page I'm about to show you. There is a video that the guy in charge of this course took; and I will get that to you ASAP. Apparently he's been taking videos throughout the course, so hopefully you will have some drawing pros to watch on video soon!
Anyhow, here it is (my WIP) of Poison Ivy seducing the Chief(?) I don't know this old man's name actually.
(Pencil by Darwyn Cooke for the Batman/The Spirit one-shot. Characters Copyright DC Comics)
-Note I am "trying" to apply the lineweight techniques taught in the previous class.
There are a few mistakes, though I'll clean that up with white-out once the page is finished (IE: on her cheek someone bumped my table. Damn it all!)
As I've noted, this week is 'vacation' of sorts. So expect lots of updates!
Decided to goof around in Photoshop tonight instead of homework.
Fullsize Deviantart view
If anyone asks if Inking is just tracing, they haven't read the topic.
deboo
85
looks awesome, you'll be an expert in no time. :)
can i ask what you're studying right now? something in uni possibly?
can i ask what you're studying right now? something in uni possibly?
Nah, I'm a highschool drop-out. Failed Grade 10 Art, and English.
No uni for me.
Just a chump worker, with a published book and art portfolio to stuff in my HS teacher's faces.
This is the second comicbook course I've taken. The first covered penciling for the most part, as well as layout and dynamic anatomy. This is purely inking.
No uni for me.
Just a chump worker, with a published book and art portfolio to stuff in my HS teacher's faces.
This is the second comicbook course I've taken. The first covered penciling for the most part, as well as layout and dynamic anatomy. This is purely inking.
deboo
85
oh i see, sort of a shame you failed art. is grade 10 like alevels then?
+ wow a published book huh!? is it on amazon?
i might look into some more art courses when the summer holidays come round, i did a comic one before last summer, it was pretty good! didn't last very long though.
+ wow a published book huh!? is it on amazon?
i might look into some more art courses when the summer holidays come round, i did a comic one before last summer, it was pretty good! didn't last very long though.
uh
197
From what I've seen most high school art classes are poop anyway, you keep sticking it to those booger-head academics Dudesoft :p
oh yeah and sweet inks too, sweeter than I could muster :p
oh yeah and sweet inks too, sweeter than I could muster :p
I'm really bitter about highschool. On one side of the coin, I want to go back in time and kick my ass. Because the REASON I failed at HS was that I never went. Played hookie allllll the time. Only time I really bothered was to hang out with my friends.
As for my grades, well, I got A's on my assignments and tests in English. The ones that I bothered doing, and then skipped the exam and never showed up for class unless it was important.
As for art, fuck! I was literally without exaggeration an A+ student. I think I got B on one of my paintings. I failed because I didn't hand in an acrylic painting and again... my attendance was like maybe 15%. Still managed to get A+ on every-every-every-everyyyyy project, just didn't hand in an acrylic painting. I could have fingerpainted in acrylics, got a D- and still passed the class. Instead douchebaggins with his goatee flunked me out. As if I didn't respect art or something. Ffff
On the other side of the coin... I am really fucking cynical about highschool in Ontario in general. They aren't paid to teach you. They're there to freakin' babysit you. It's effed up.
Whatever. It's not the be-all and end-all of education. I've taught myself, taken numerous courses, read a lot and paid attention to what other people do. Highschool can suck my anus.
/rant.
Kindergarden (before school teaching like basic craft skills and stuff)
Grade 1-6 is Elementary school
Grade 7-8 is Junior Highschool
and the you get tossed innocently into the life-changing social mess of highschool.
It used to be Grade 9-13 but I think they dropped "OAC" (13) after I left. So it's just 'til 12.
Then off to College or Uni.
As for book on amazon, yes! Bubblegum Wishes by J.S. Longstreet
Though, fat chance getting a copy. I'm pretty sure it's sold out.
As for my grades, well, I got A's on my assignments and tests in English. The ones that I bothered doing, and then skipped the exam and never showed up for class unless it was important.
As for art, fuck! I was literally without exaggeration an A+ student. I think I got B on one of my paintings. I failed because I didn't hand in an acrylic painting and again... my attendance was like maybe 15%. Still managed to get A+ on every-every-every-everyyyyy project, just didn't hand in an acrylic painting. I could have fingerpainted in acrylics, got a D- and still passed the class. Instead douchebaggins with his goatee flunked me out. As if I didn't respect art or something. Ffff
On the other side of the coin... I am really fucking cynical about highschool in Ontario in general. They aren't paid to teach you. They're there to freakin' babysit you. It's effed up.
Whatever. It's not the be-all and end-all of education. I've taught myself, taken numerous courses, read a lot and paid attention to what other people do. Highschool can suck my anus.
/rant.
post=125559Yeah in Ontario (don't know about the rest of Canaananananada) the school system breaks down like this:
oh i see, sort of a shame you failed art. is grade 10 like alevels then?
+ wow a published book huh!? is it on amazon?
i might look into some more art courses when the summer holidays come round, i did a comic one before last summer, it was pretty good! didn't last very long though.
Kindergarden (before school teaching like basic craft skills and stuff)
Grade 1-6 is Elementary school
Grade 7-8 is Junior Highschool
and the you get tossed innocently into the life-changing social mess of highschool.
It used to be Grade 9-13 but I think they dropped "OAC" (13) after I left. So it's just 'til 12.
Then off to College or Uni.
As for book on amazon, yes! Bubblegum Wishes by J.S. Longstreet
Though, fat chance getting a copy. I'm pretty sure it's sold out.
post=125561uh, you could probably do this stuff to. It's really more of an applied skill that anyone can learn. Like a lot of people say they can't draw. But then they're really good at drafting technical drawings (esp with a ruler). This isn't really a you-got-it-or-you-ain't skill. Just takes a lot of patience and practicepracticepracticepractice.
oh yeah and sweet inks too, sweeter than I could muster :p
post=125631More to come! I'm only halfway through the course. :D
Wow, had no idea what went into all of this. A very interesting read.
Sam
2200
So, is this an online course or are you actually going into a college or something? If it's local, fuck, if it's online, I may hafta look into it.
deboo
85
It's in Toronto, soz.
Well you don't need an education in art to be good at it anyway. I hated the way art was supposedly 'taught' in school so i didn't take it for ALevel, which i do sort of regret. But we can work on it at home, we don't need a teacher assessing how well we annotate pieces and our techniques(not that i'm not for art as an education).
Other schools probably has better teachers, but ours was a bit shit. He didn't really try and help improve peoples work at all, he told us to do something and then when people who weren't naturally gifted in art did badly he would get all confused and have to give them an E.
It was good practice though :( i do sort of miss it.
Well you don't need an education in art to be good at it anyway. I hated the way art was supposedly 'taught' in school so i didn't take it for ALevel, which i do sort of regret. But we can work on it at home, we don't need a teacher assessing how well we annotate pieces and our techniques(not that i'm not for art as an education).
Other schools probably has better teachers, but ours was a bit shit. He didn't really try and help improve peoples work at all, he told us to do something and then when people who weren't naturally gifted in art did badly he would get all confused and have to give them an E.
It was good practice though :( i do sort of miss it.
I've always been doodling, and yeah stressing again that I was passing with flying colours in art. (no pun intended) but the teacher was this goatee and beret douchebag who hated that I wanted to pursue cartooning instead of ART. So he bent the rules against me rather than letting me pass. I mean, he wants me to be an artist, and flunks me for sleeping in and being unreliable at punctuality.
Isn't that an oxymoron?
plus yeah. Art should not be taught in schools really. Maybe as extra credit. There are people who don't like art or can;t do it? so why force them to lower their grade average? It's really kind of stupid.
Isn't that an oxymoron?
plus yeah. Art should not be taught in schools really. Maybe as extra credit. There are people who don't like art or can;t do it? so why force them to lower their grade average? It's really kind of stupid.
Radnen
1806
post=125764
Art should not be taught in schools really. Maybe as extra credit. There are people who don't like art or can;t do it? so why force them to lower their grade average? It's really kind of stupid.
That's the problem ain't it? Why are they forcing it? When I went to high school, it was a pure option. I took it anyways knowing it was going to be an easy grade for me. It didn't have to bring people down.
post=125764
flunks me for sleeping in and being unreliable at punctuality
I thought it was already established that we all learn shitty shit in highschool. So, what else do you think they grade you on? It seems like preparedness and participation outweigh unanimously anything intelligent that you learn or any effort you put into something. It's quite possible to learn a lot of math, get really smart but fail the class for doing no homework, making the schools believe you are a shit head when in reality you could be smarter than most of the dumb-fucks who teach there. Those who can't do teach. Also, on the flip side it's possible to do all the homework, turn it in, get an A and be retarded doing so, because the grade relies pretty much on 80% participation and punctuation. :/
Bottom Line: Your Grade Point Average is not a demonstration of your intelligence. At all. You can take easy classes get a high GPA, or you can just be prissy and punctual. :/
AABattery, pick up a quill, cheap watercolour brush and a well of ink. OR, find some cartoonist brushpens. They're like markers that work like a paintbrush. Try to make some lines on a pencilled drawing on some thick paper. Something that won't bleed. If you can get to an art supply store, they'll know what you're after. Give it a go on that and see where you're at! Y'never know. Might not be as crap as you think!
