Here’s another news, probably a big one.
I was invited by Erik Roman, the penciler whom I inked long time ago some The Red Devil comic Strips, to participate in this other comics trip based on Edgar Rice Burrough’s 1929 science fiction novel The Monster Men , published originally by A.C. McClurg.
Edgar Rice Burrough’s official site assembled a new team for an upcoming webcomic, which will be part of the graphic universe of ERB’s characters that will be displayed as a comic strips, For this comic strip the creative team is:
Writer: Tom Simmons,
Penciler: Erik Roman,
Inker: Cristian Docolomansky,
Colorist & Letterer: L Jamal Walton.
And here’s the incredible part (besides the fact of bringing to life this extraordinary novel), look at the roaster of artist that ERB gatherered together!:
John Carter, written by Roy Thomas
Korak The Killer written by Ron Marz and penciled by Rick Leonardi!
The Mucker by Ron Marz and Lee Moder
Tarzan of The Apes by Roy Thomas and Pablo Marcos
… and many more!
I can’t believe that I¡ll be sharing my inks along these great masters!
This will be available by a Pay Pal $1.99 monthly or $21.99 yearly subscription, which you can visit here. ERB will provide 10 different comic strips updated weekly.
For this great event I was asked to ink the original J. Allen St. John frontispiece for the 1929 McClurg hardbound 1st edition of THE MONSTER MEN ™ and colored/lettered by L Jamal Walton , with tagline by Tom Simmons. I am extremely honored for this.
Soon will be able to give you the exact launch date.
Last but not least: We had a small appearance on the last SDCC, with the panel below. (look for the bottom right drawing).
Can’t wait for you to read and comment this!
The most important thing I tried to focus is the chrome effect on the super heroine’s suit, which voluptuosy allows to improve the shinny round and glossy effect.
Used mostly brush Raphael Kolinsky 8404 #0 but also one hell of a ruler + fine liner for the background so I can pop up the characters. Also some whiteout to correct things and giving some splatter and dusty effect on the messed building background.
As far as I know the book will be soon published but after the summer. Don’t know if they’ll use those pages. Hope not if I’m not credited.
From the Starburn Publisher, Emerald Star:
Win a Copy of our Diamond Distributors Submission Editions
Only five (5) copies have been printed for our Diamond Distribution submission process. The inside covers and the currently Top Secret ad on the back cover will change slightly for the actual print edition. These are super rare and here’s how you can get a copy for you AND a copy for your local comic book retailer.
To be eligible:
1 – First leave a comment on the official contest post on our Facebook page. Tell us the name and location of your local comic book retailer.
2 – Next, share the official contest post on your Facebook page.
3 – Finally, for the book you wish to win, download and print the ad below. Take it to your local comic book retailer and ask them to display it in their shop. Take a picture of you and the manager (or employee) showing the ad being displayed in their shop and post the picture either on Facebook or Twitter (make sure to tag us or we won’t know you did this step).
The winners will be randomly chosen from all eligible entrants. Only one entry per person. The contest runs from July 28th until August 11th, 2014 (12:00 am CST). Winners will receive their copy in early December 2014. International entrants are encouraged.
So, please, help us and if you live in Spain or Chile, you can also win. I’ll add some special feature if there’s any Spanish or Chilean winner which I’ll give free prints of the inked pages 11 x 17″ signed.
Thanks you all for participate!
From Writer Kelly Bender:
Please go to Emerald Star & Diamond’s page and let everyone know you want to see Emerald Star Comics in PRINT.
So, please, if any of you is seeing this post, I have put more than inks here, plase contact Diamond and tell them you’d love to see this in your local store!
This is a small post for those who will attend this year San Diego ComicCon.
I have small things that will be there. My firsts small things to be in the biggest Con, so I think that’s a great step forward.
1) Go get THE MONSTER MEN teaser by ERB:
I was invited by Erik Roman to participate on the Edgar Rice Burroughs’s official website webcomic The Monster Men. This is a webcomic that will be weekly published starting Aug 8th 2014 here and for SDCC there will be a some surprises. FRIDAY, 10:30 – 11:30 Room 8, WEB Inc. will be discussing new webcomics and it’s supposed that at least we will be named. Besides, ERB Inc. asked us to make an illustration to announce our webcomic, so save me one if you have the chance. The Monster Men team is as follows: Tom Simmons (script), Erik Roman (pencils), me on inks, L. Jamal Walton on colors.
2) Death Reserve webcomic, by Von Kreep:
Death Reserve is a 10 page webcomic in order to promote Von Kreep’s upcoming film of gore, zombies, vampires, sexy stitched nazi zombie hunters. Von Kreep won’t have a special booth so up until now I don’t have the exact reference of where and when to be found this comic. You can follow his FB page and his fundraiser page to support his project which looks incredible.
3) Go say hello and buy from ECV Press:
Trixie Dynamite, huh? Long time no see, despite the fact I signed a 4 issued contract they haven’t returned my emails, so I don’t really know if they will be hiring me for the upcoming Trixie comics. Nevertheless I urge you to go say hello at booth Q11 (Small press section) and ask for Issues #1 and #2.
This week has been the busiest I have ever had since I became a freelancer inker.
I have been assigned several projects at the time and some time last sunday everything blew off. SDCC is around the corner and I was asked to do a last minute inks to help a new comic, so in order to help, I had to commit to myself and break my 6 inked pages per week boundary.
A friend of mine, talented penciler and chilean comic book artist and icon Gonzalo Martinez, (who is currently waiting for San Diego ComicCon), challenged me to do that.
9 inked pages in a whole week may sound something not very difficult to accomplish for some, but it’s my first time so I want to prove myself in case someday I have this very scenario with any of the big ones.
And I made it!
– 1 page from Starburn issue #2, which I cannot post a preview yet since the published does not allow inking wips. (digitally inked using MangaStudio EX), pencils by the exquisite Brian Balondo.
– 2 pages from the upcoming webcomic Death Reserve by Von Kreep which will be premiered at SDCC. (digitally inked using MangaStudio EX). Pencils Richard Connolly
– 1 pin up for an upcoming Kickstarter, named Day-165, penciled by Erik Roman asked by publisher Tony Doug Wright from Champion City Comics (Traditional nib inked)
– 3 pages from Tear#1, my latest assignment, finishing issue #1. (Traditional nib inked). Pencils Federico Zumel
– 1 Page from the re-adaptation of El Viudo‘s first story “El Fin del Luto”, asked by publisher Oscar Salas from Dogitia, who wants to publish that story, once digitally published here. That story was made in 2010 and when I see it it hurts, so penciler Rodrigo Campos and I agreed to do it again and someday print it as it was supposed to be printed, with quality. (Traditional nib/brush inked).
– 1 page for the up comic webcomic The Monster Men, also penciled by Erik Roman to be published next Aug 8th by the Edgar Rice Burrough’s website. (Traditional nib/brush inked)
Next week. I have another 9 pages to ink. XD
Love this job.
Taken from the Emerald Star Facebook page. They shared me the pictures days ago, but can’t posted it. So, if it’s on Fb, I can share it with you guys. Note that I will ask for 50 copies of this book, so if you want one, please, let me know!
Starburn is on its way to Diamond for consideration. Mankindx3 Studios really delivers in this action-packed Sci-Fi book. Stay tuned for details on how YOU can win a copy of one of the 5 seen in this photo. Only 5 samplers were printed so these are SUPER rare. Until then, enjoy the quick peek inside – we’ll have more later.
Starburn is a creation by Kelly Bender, with Brian Balondo on Pencils, me on inks, Laura Lee coloring and Nic J. Shaw lettering, presumably publish next november.
This is good news. My very first pro job, which I think it was inked around 2011, can’t remember well is about to be released.
Years ago, swedish writer Daniel Karhunen asked me to fill – in some pages (I believe they were 4 or 5 pages) because his latests graphic Novel, Snowmalinas was unfinished and he needed a helping hand on inks.
That book is finally getting some press and no one that Markosia Entertainment. You can preorder it by clicking on the image or if you want a digital version of it, please go to the following URL’s:
Writen by Daniel Karhunen
Art by Cybthia Sousa and Andrea Meneghin
Another helping hand, besides my humble 4 pages; Shon Burke, Ambra Meneghin, Ashley St. Lawrence, Grace Freeman, Danielle Alexis St Pierre, Michael Stock, Lisa Medin, Åsa Ekström, Hedvig Häggman-Sund, Frida Larsson and Blake Clouser
hope you enjoy it.
I found this post from Benjamin Herman and I like to share it with you. It’s good to read articles about inking from another bloggers.
©http://benjaminherman.wordpress.com Dated March 27th 2013.
As a long-time comic book reader, I have come to recognize that one of the most important aspects of the creation of comic artwork is inking. It is also, unfortunately, one of the least understood.
Some people make the mistake of thinking that all inking is the same, that it is little more than going over the penciler’s work with a pen (I sometimes think that Kevin Smith should be dunked in a giant vat of India Ink for that line he wrote about “tracers” from his movie Chasing Amy). But the reality is that no two inkers are the same. The difference between one inker and another is often the difference between a very polished finish and a rough, gritty mood. Therefore, it is important to recognize the vital role that inkers have in the crafting of the final, finished look of a comic book story.
View original post 1,199 more words
This post is dedicated to one of my personal El Viudo customers, Ignacio Aranda.
Well… more than a month after the release of the El Viudo book here in Chile I see how the reaction of the public is.
There are out there some online reviews – both in spanish – where you can find how some of the chilean comic book connoisseurs thinks of the comic.
Both reviews agrees that’s a good book, that it has a strong graphic research database and the story is great to read. Also, both suggests that the wait was long to see this print. We all hope that the next issue won’t take that long.
One thing that calls my attention is that both states that we, as a team, we use the mainstream american comic book standard by using a penciler+inker in this book. That’s a kind of label i am not uncomfortable with, but still is noticeable that both websites points that. Maybe I am too involved with this tag-team status and calls my attention this kind of things.
Which makes me connect with a comment that Ignacio gave me: “I read the book, but I am not as good at comics to tell apart penciler from inker’s work, so I can’t tell you if your duty was good or badly executed”.
That’s also funny, never thought of the fact that the inker must be noticeable. For me, in my stage, that I have in mind is Terry Austin‘s motto of the inker.
“I’d just like to add tat I suspect Inking is much as the same as dancing, if you think too much about what you are doing, it spoils the flow”, – The Art of ComicBook Inking, Gary Martin, Dark Horse Books.
So, like a bass player, the work of an inker is to help pencils get to another level and keep the pace of the entire book.
Take a look at one of the best page – imho of the book, Where Rodrigo kills with his pencils. I used in that mostly brush. By that time I thought that the 50’s look would be better accomplished using a simple Pentel Penbrush, I also used fine liners, like the Staedler 01 micro pen for some details, with the help of the Hunt 102 Quill and my usually beloved Dr, Martin’ s white ink. Rodrigo’s pencils leaves me a lot to flow along, most y with the textures and chrome effects, and I guess that page sums everything up.
Panels 1-3 are quite the same: The environment I did it using both micro pen and hunt 102,. You can see the difference between the two of them on panel 1: First plane (dog) was inked by micro pen, but the textures, both vertically and the ground-like terrain, was inked by using quills. You can see that the detail on the faces at panel 2 and 3 is not as neat. That’s because I used micro pen.
Panel 4 is another story and it supposes the beginning of a new form of understanding the page. I remember that Page 19 was the first I inked after NYCC and remembering what Mark Morales told me, made struggle with detail, which you can see in full scrap-glory at the bottom of panel 4. I focused on three aspects of the rendering; Detail, must show like a crash car should look like, with all the inside parts and such; Planes: While the characters are in the background and the table is the foreground, the car is in the middle ground; and most importantly, textures and light, since the rendering should make obvious what kind of materials the car is made of.
However, and this is the goal of this post, despite what you see from the pencils to the inks, I did not “invented” or “corrected” or “fixed” anything Rodrigo originally penciled. I only tried to make the whole thing pop-up from the point of view
So in order to explain how to tell the difference between the penciler and the inker’s job, well, in my opinion is not that important to tell if you dig what you see. For me that’s the best compliment you can give me.