Dog does not want me to keep doing digital inking.
I’ve just arrived home and I found that my dog, Facundo, just ate my Wacom Intuos digital pencil, which it has only a couple of months old since… he ate my previous Graphire 4 Digital pencil. Seems he is telling me something.
I’m trying to laugh, since it’s expensive as hell.
Things that keeps me moving forward 1: Grant Morrison, Talking With Gods
From now on I’ve been thinking about posting or suggesting some things that when I see ’em lightens up my energy. Motivational shots, like drugs, while I’m working. Then I’ll point what I have learned from them.
It helps me keep focused and learn some English in the meanwhile. Actually I don’t quite SEE them, I listen to them while inking, so maybe I’m missing many important things.
First, we’ll start with this Respect Films Documentary called Grant Morrison: Talking with Gods. It’s a great view, despite the fact I am not a fan of the personae that surrounds Morrison. But I learnt an important lesson here: Helps understand that Comics artists are not as geeky as fans would think they are. Morrison is a comic book writer, playwright and occultist. Also he is a musician and you understand his comics better once you get to know that behind the written work is a person that wants to state a message through comics. For that, you can see that comics are not shallow media where muscled tighter people punches bad brainy bad guys. Not at all.
That also helps understand and value comics.
Great work, guys. © Respect Films.
Working in comics, Part 4: Optics.
A couple of weeks ago, in front of some food I was chatting with my friend, Colorist Kote Carvajal. Topic changed from our daily struggle, comic book documentaries and then the lenght of our carreers in comics (which he summed up in this post), I came to a slightly different conclusion, but bottom line it’s a similar one. It’s not the time on the business. It’s the meaning of it.
We named several artists and tried to find out how are they right now. It was surprising that I knew way more about 60, 70’s 80 and 90’s artists whereabouts than I thought.
If you play your cards wisely you can work up to your sixties.
Up until today I have not found new paid jobs. For that matter I have accepted two back end projects so if they publish, and after they have cover the expenses, then I’d might see some cash. It’s quite frustrating, since I’m looking at the end of my first year as a semi-pro inker and my numbers are not as good as I thought they would be. However the meaning of it means to find a better style of work.
I’m changing the optics, then. To widen my boundaries. I will work as many tests sample pages as actual work. I’ll send sample sets every specific amount of time. first, this publisher, then this another. Wait two weeks, send another set of sample pages…
This teaches me that despite inking is a team up collaboration type of work, getting to be known is an individual task. Let me show you an example: I received some bad news lately: The guy I have been inking the most since 2010 is currently struggling with family issues – which I wish only but a quick recovery and all the bests. That leaves me alone, because all the knowledge I gain understanding his craft goes into oblivion.
Relying in just one penciler is not a good suggestion to a newcomer. Find good and several pencilers to work with.
Inkers are – in my opinion – the most unsecure, unstable, most depending on other’s work making it the weakest link on the comic production team. Writer depends on penciler and colorist on penciler. Comic may need a colorist or maybe not. Penciler depends to colorist, but inkers… buf… it’s harsh. You can be a colorist and color different titles and you can be recognize by your palette, but your color still can works. On the other side, the inker struggles with a truth with plays in your favor if you are a well recognized inker (*), but against you if you are trying to step from Amateur to semi pro to professional inker: You art is welded to the penciler’s craft. Inker contribution relies on shape, light, form, texture, depth and maybe some fixing corrections, but are the amount of pages you and your penciler do together also shows a unique talent of partnership that pops up and gives the extra your publisher loves. If the penciler suddenly walks away (he ends his carreer, does not have you in mind for newer commissions, whatever…), then all those pages you did together won’t work.
So mixing inking sample pages while inking current commissions, it what I thought it will help me to find more pencilers that will be able to team up with me and make my list of pencilers wider.
I’ll let you know how it goes.
(*) By a recognizable inker I mean those who you can recognize his craft no matter the penciler. Jonathan Glapion, Danny Miki, Scott Williams, Joe Weems, Batt, Rich Friend, Klaus Janson, Tim Townsend…)
(Upper picture, © Camilo Mendoza – Mesa Gráfica)
(Lower picture, © UPI – Cooperativa)
Ok… Image does not reflect the point of the post, but I don’t want to rip off other’s creative work, so… here it is. I did this a couple of years ago for a great friend of mine who was running a website related for the acknowledge of the value of water in Third World countries.
Your place while working in comics is hard to maintain
Your place while working in comics is realize that rarely is a team effort
Your place while working in comics makes you work hard HARD hours
Your place while working in comics means to be alone from yourself
Your place while working in comics means to be alone from free time
Your place while working in comics means to be alone from your family
Your place while working in comics means to be alone from your money
Your place while working in comics means to be alone for a huuuge amount of time daily.
Your place while working in comics is face a selfish environment. Since it’s a rare industry, everyone holds their stuff and protect their space fiercely.
Your place while working in comics won’t show anyone that will upgrade you to a higher level, You run on your own. Best case scenario is to team up with great and fortunate artists whom have both talent, luck and a trusted publisher. Your success lays on your talent and the next “Your place while working in comics…”
Your place while working in comics helps you develop several helpful skills: Businessman/womanship (helps you sell your craft); languages (if you don’t speak English, working in comics forces you learn english language in order to be able to communicate yourself to those that can pay/publish/review you); marketing skills (You need to trade: Page rates, your free time, advertising your works); Optimizing time (Need to work for 8 hours what you’ll do in 12. If you work 12 hours, you need to produce what you do in 15, and go on); Psychologist skills (since you don’t live next door to your publisher / editor / writer / penciler, working in comics makes you learn fast and harshly that you need to filter who is offering a good and profitable deal and who’s selling you air); multitasking skills (you will always do more than what you intended to do at the beginning: I have penciled, lettered, doing flats, write, research for possible publishers for a client in a certain country, make inquires, learn about taxes, learn about home economics, and make a film documentary out of it. All I wanted to do is inking, XD)
So, Your place while working in comics demands you to do all those things I have names on the previous paragraph in order to accomplish success by yourself, but be talented, plus have a touch of luck, plus get to know the right people, plus…
1) Creative reasons for why I am doing this is because what I do I do it based on this: (© Creativesomething.net)
2) Motivational reasons for why I am doing this:
– My wife. She trusts in me
– My brother, Sasha & Nino and other people who’s life example or mere existence influences me.
– This is my dream since I am a kid.
– Maybe I’m not the most talent inker, but I put heart, knowledge and hours into it
– And finally… this does not feel like a job.
Originally published at Tapastic
Writer: Tony Wright
Pencils: Erik Roman
Inks: Cristian Docolomansky
Colors: Joe Haemmerle
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Soon we will announce something big. Stay tuned!
during all these years I have been a trust follower of traditional inking. Since last months my work schedule it has been increasingly grown I am currently looking for several ways to be able to focus myself in different jobs.
I have previously done several things using Photoshop, like the one you find on my previous post here, however, the finish line never liked me. Nevertheless, I wasn’t eager to start proving Mangastudio after being a Photoshopper for more than 10 years of experience as a Industrial Designer and Key Account Manager at an Industrial Design Studio.
i had to try it, and since I started it was easier than I expected. All Photoshop keys works here, so it was faster to start getting familiarized with the software.
What i like the most was the brushes. Making my own brushes at Photoshop never made me completely satisfied, but here in MangaStudio, with an India Ink Brush, 5.0 or 10.0 and stabilization at its hugest value turned the stroke quite similar to the one I love using Hunt 102.
So, Let me show you my first attempt inking using MangaStudio and I really liked it. I decided that I will use MS for all or most of the backend projects, so I won’t spend as usual on paper, brushes and inks.
MS is a great great discovery and the feeling that I jumped on it quite late on my career. Hope that you like it!
Pencils by the glorious Marc Silvestri.
Yesterday I posted about my newest work, my first story penciled and inked by yours truly, for an american indie publisher called Double Barrel Theatre, with scripts by Matthew Kayal. Besides taking the penciling task – which I haven’t done that much last year – I decided to start exploring and experimenting with digital penciling.
Some posts ago I also posted about layouting a comic. Check this of you want to see what I meant.
Here’s a process of one of the pages.
On the left: The layouting, where I studied the flow of the page, the dynamics of the reading and the lettering placement.
On the center: The penciling of the page. You can see on the bottom panel that the lay outing of the page was changed since the writer wanted me to move a girl character out of the camera view.
On the right: The final inked version of the page, the approved one.
Let me tell you the most important thing I learnt during this process:
– Penciling digital it become slowly easier one page at a time. The most common mistake is that your eye can’t decide when a detail is not necessary to be in the page. The Zoom in and Zoom out plays evil mind tricks to your eye. You must have present that your page will be reduced and printed – luckily – in an offset print machine, so small microscopic 1 px details seems that will enhance the final view of the paga but NO, it won’t. It will increase the mourè effect on paper and you’ll loose countless time in useless information to the reader’s eye.
(Tip: Look at the second panel. and tell me what do you see regarding unnecessary info… yes, there’s a lot of detailed demons that won’t be noticed on print; there’s many structural damages that also won’t be noticed printed…).
See below. Yes. looks great – inho- but see it printed (on my personal printer, of course)
See? Well that’s the best suggestion. While penciling, try to print the page in order to see what are you drawing, i this will be completely seen or if this will be blurred by the printing process.
Once you have that in mind your page set will have another look.
Here’s the final version of the page.
- New work: Midnight Delivery Service (docinks.wordpress.com)
- What about helping ourselves? Some tips when layouting (docinks.wordpress.com)
This project came after another failed and I like how things turned to.
Matt Kayal is one of the founders of Double Barrel Theater, an American indie publisher. He asked me to work in a 10 page story called Midnight Delivery Service, where I did pencils and inks.
For make it more challenging I decided to do it completely digital, so this is my first time doing digital comics.
Script: Matt Kayal
Pencils and inks: Docolomansky
©Double Barrel Theater