Junto a Felipe Benavides (guionista, promotor, rotulista y agitador cultural) haremos un taller especialmente enfocado en TINTAS Y ROTULADO de comics. Se desarrollará en Espacio Ba a partir del 5 de Julio, en 4 sesiones a partir de las 19 hrs hasta las 21 hrs. Y tiene un valor de $50.000.-
Pueden inscribirse en Correo@narrativagrafica.cl
El desarrollo de un comic es un proceso creativo de etapas y que requiere tener las herramientas necesarias para poder lograr los mejores resultados. Muchos de nosotros dedicamos hartos esfuerzos para pensar y escribir nuestra historia y sobretodo para dibujarla. Es crucial que la calidad del trabajo sea consistente hasta que llega el comic a las manos del lector y este taller se quiere enfocar en cómo lograr el mejor resultado cuando entintes y rotules tu comic.
Por ejemplo, si estás entintando tu comic, ¿tienes estas inquietudes en mente mientras trabajas?
- ¿Damos real valor de línea a las formas cuando las pasamos a tinta?
- ¿Cuál es el verdadero rol del entintador en un comic? ¿Puede incidir en el dibujo?
- ¿Cuáles son los riesgos de sobreentintar?
- ¿Cómo definimos las texturas y la incidencia de la luz en las tintas?
- ¿Qué herramientas usamos mejor para entintar? ¿Cuándo puedo usar una plumilla o un pincel y dejar los tiralíneas?
Desde 2013, que soy entintador de comics he desarrollado en este blog (en inglés) algunos posts sobre herramientas y técnicas de entintado que pueden revisar acá:
- Different inking tools.
- Different inking tools: Digital inking.
- Different Inking Tools – Inks and paper
- Inking Zinnober (proceso)
O sea, podéis ver que inquietudes tengo. XD
Además, llevo dos años trabajando en rotulado de comics, produciendo entre 15 y 20 comics al año. Ese aspecto de mi oferta nació de la necesidad de expandir los servicios que puedo proponer para trabajar en comic considerando los méritos y métodos que he desarrollado en mis años de trabajar en agencias de marketing y Trade. El uso de softwares de vectorizado e imágenes (básicamente la plataforma Adobe) y creación de campañas publicitarias me ayudaron a poder enfocarme en el rotulado de comics y que no es solamente colocar textos, sino que tienen una lógica y un proceso.
- ¿Tenemos cuidado con la real ubicación de los globos de texto?
- ¿Qué criterios usamos para poder escoger las mejores tipografías para el rotulado de comics?
- Es mejor dibujar los efectos de sonido o usar tipografías existentes?
- ¿Qué formatos de salida exigen las editoriales para exportar los archivos de rótulado?
- ¿En qué me centro para realizar un logotipo de comic eficiente?
Os invito a descubrir estas inquietudes y aprender algunas cosas juntos sobre tintas, sobre rótulos y sobre este proceso esencial para poder trabajar en vuestro comic. El taller está enfocado no solamente en entintadores y rotulistas, sino autores de comics, personas con la inquietud de poder manejar todos los procesos del comic.
Hey, quietly lately here, sorry. I’ve been busy with the teaching comics and a couple of projects that are on a tight deadline.
But I had a weekend off recently and I went to the beach with my wife. When I got my own schedule done I decided to work on this Wonder Woman Sketch on #wonderwomanday.
I still can’t see the movie but I am eager to.
Here are some details. Since it’s digital, you can find some cool strokes zooming in.
Busy few weeks lately. Since last April 18th to May 16th I’ll be teaching comics to kids from 12 to 17 years. It’s a part of the enlaces project, by the Chilean Secretary of Education. This project, named “Enlaces” focused on teaching kids about using the latests on the technologies of information and knowledge. There are some other workshops on filming a video, initial robotics and making video games.
I’ve been meeting kids from my home city, Santiago. Last year I taught on a nearby city named Rancagua. This time it’s not as demanding as last year, where I had to catch a bus, travel 100 kms from Santiago to Rancagua and back.
So, I am basically half way down teaching. Each workshop takes 2 days, where I teach the 10 basic principles of comics and they have to reply the workshop on their school and then I’ll visit them to monitor how are they doing.
It’s an intense, but very rewarding experience. I thank all that trusted me on this.
I’ll post more pictures soon.
Hi, guys. A couple of year ago I did a piece about my fav inking tools. I think it’s time to review it to see if I stick to them or if I have diversified my inking tools.
First thing is that I see that in comparison from that first post I am much wiser in finding the right tools and inks. So now I can choose better and stick to what’s really useful.
Another thing is that I used to work with different tools with different pencilers. Today something has slightly changed. If someone needs more surgical inking, I prefer to use digital inking via Clip Studio Paint, but I don’t change my tools that much with the pencilers. I prefer to stick myself to what’s best for me.
Note: All my material can be purchased in http://www.paperinkarts.com
Here slight things have changed. The best in the field are still the same. What changed was my view and expertise on them.
– Tool: Raphael Kolinsky 8404 Brush. #0 and #3. I have switched to a thicker brush, but still learning from it. I have learned throughout the years that this brush has like 2 lives. I mean: the new brush works steadily and offers an incredible rich stroke, very organic. I see something of what I see in Jonathan Glapion’s magnificent inks when I use it freely. then it slowly loses the firmly stroke and as it gets old is great for raw strokes. I only use this tool when I know that the pages / penciler is worth. Kolinsky hair offers superior strength and it is resilient as hell.
– Link for purchase
– Tool: Windsor and Newton Series 7 Brush #00 to #04
– Description: aaah, the Windsor and Newton. I had a very love-hate relationship with this brush when I got my first two brushes. It took me a while to get to it and the difficulty of making a good stroke out of it made me wonder if I got a bad production item or something else. I couldn’t believe that THE brush for inkers was such a bad brush. Then I got news that the production of 2013 was a bad one and that was it. I have a set of brushes now that jumps from #0 to #4. And it’s another thing. It’s precise as sharp and the hand grabs it very naturally. The stroke flows but also it’s a brush that tells you when you have a stiff hand, so practice with it before you jump into a page.
– Tool: Menso Brush Kolinsky Small by Kuretake Zig Cartoonist collection:
– Description: I bought this one months ago and sorry, I haven’t used it yet.But comments says that it’s a strong brush that outperforms Windsor and Newton Series 7 #0. It’s good for fine detail inking. So, I have decided to use it on my next assignment.
– Tool: Japanese Calligraphy Fude Brush CHIKKA shodo White. by Kuretake
– Description: This is a calligraphy brush in a big format. I am a total ignorant about chinese calligraphy altho I’d like to take some workshop sometime, so I know I am using this brush wrong. I have seen a couple of tutorials on youth about how to use them and after reviewing them I started to use this brush as freely as I could. I try not to use it as a lazy tool (like filling huge spots of black or something), so I use them as a stroke of expression for new pieces mostly and start to build from there.
– Tool: HUNT 102 CrowQuill nib
– Description: Still is THE best quill on the market. It’s my preferred tool of choice when I ink, but as the Windsor and Newton, the quill smells your fear. the best advice is to use it previously jumping into the page and practice strokes. Also, don’t be afraid to use it with a ruler to delineate your straight lines. You’ll see ho professional the page looks with it. Still it’s harder to handle if you are not familiar with quills.
– Tool: Kuretake Fountain Brush pen #13
– Description: I bought this fountain brush pen because of the praise some inkers gave to it and actually using this pen is magic. It is elegant, with fine details, metallic body and cap and the brush is one of the most fine point I have ever tried. It also flows very organically and the ink dries and does not expands. It’s expensive, but it worths the money you spend. Thing is that the only flaw I saw is that it got stuck after the first replacement and I couldn’t use it properly ever since. I have tried to wash it, fix it and nothing. The new recharges does not flow and it’s utterly frustrating to have this expensive brush pen for just one use.
– Tool: Pentel Pocket Brush Pen
– Description: Cartridge charged with a slightly stiff brush cap. It is way cheaper and not as elegant as the Kuretake Fountain pen, but is as useful for the daily sketching. I like that you can make some sort of dry brush effect. It’s cheaper, really and the cartridges are easy to find.
-Tool: Pigma Professional Brush Pen Bold
– Description: Still we are on the brush pen section, but the next two are disposable pens. So, they are cheaper so as the point which is not made from hair, it’s a felt point. It comes with three models and I got the Fine and the Thick versions so I can toy around with them. Well. I am not that pleased wit h this brush pen. It’s versatile on the modular strokes going from thin to thick, but I can’t use it on any piece that has something else – like dry ink – on the canvas, because the ink stops flowing, so I am wondering where to use it. I bought it to see how it works on straight modular lines, so we’ll see.
-Tool: Sakura Pigma Brush
-Description: Just like the Micron model, the Sakura Pigma Brush is the perfect mix between Brushpens and disposable pen. Ink flows great and it’s modular enough for fine detail and finishes. Good product to my eye.
Fine Line & Bullet Tip Pens & Markers:
-Tool: Sakura Pigma Micron Fine Tip, 005, 01, 03, 05.
-Description: Last but not least. When I started inking I stopped using Fine liners because I felt that those were not tools inkers used. I was wrong. I know many artists that ink themselves with this very same product and after trying out several similar products I must go with the flow in this category. It’s hard as a raging bull, works on almost any material and ink lasts enough to see that this is one great inking product. I stopped using another brand.
So, That was my REVIEWED two cents about inking tools. Hope that it helps.
Next post: Inks.
Strange Smash FanComic
Created by Sebastián Castro
Pencils by Lucho Inzunza
Inks by me.
You like it? More to come soon.
Back in September 2016, Ralf Singh, a talented german penciler asked me to develop a digital sample inks panel of his new comic. It featured a dragon flying between tall linear buildings. It got me right away.
Ralf ‘s style mixes simple expressive lines but highly ellaborated backgrounds. He leaves the characters have the strenght on each panel and the backgrounds speaks volumes of his love for detail. So i tried to do the best of the dragon, but I really pushed myself to accomplish the most postapocalyptic, doomed, detailed, window by window on the buildings.
I totally failed on the dragon, but he liked the backgrounds. So I got a second chance. After the approval I decided to go very careful with the backgrounds on the sequentials. Luckily, Ralf is as methodic on the paper as he is on the communications. We use to hang out – or skype or Discord, before inking a page to focus on several details. Thanks to that kind of closer relationship, it helps a lot to enhance the final results.
As I said, Ralf linear work invites the inker to a work full of details and patience. Since the digital sample panel, and the HangOuts, I realized that my job was to potentiate the realism of the damaged environment the characters are in. For that matter, best thing is to work with Clip Studio Paint. That software gives me room for improvement in order to create a reliable background. Remember that it’s London with Dragons, so they don’t have much care of the buildings. Lots of cracks, smoke and broken windows.
On this gig, I always start with the backgrounds. Since the first scene takes place in Picadilly Circus all visual references are welcomed. I delineate the bigger volumes with a straight line giving the damage effect freehandedly. I like to add cracks to reveal the material all buildings are made of and play with the planes with lights and shadows. That way I can give more of a 3D look and make the objects (building, cars, et al) pop up.
Besides, I believe that in that postapocalyptic city all things must look like worn out, dusty, old. After discussing that matter with Ralf I had green card to loose myself a little bit on the objects like weaponry.
Then, I ink each character and there I try to go as faithful to the pencils as I can only giving some inking decisions such as 3D effects and shadows.
Finally, I give some smoke and splatters effects to loose the linear effect the pencils has and give it more realistic look.
Zinnober is not a dark comic, and artistically you can tell that it bears a little bit of hope in the pages. There are not big black areas – at least on the surface scene – which makes lines more important than ink spots. For that matter, inking a single page also takes a long effort. I spend between 15 to 20 hours per page.
I can’t wait to see this book printed. I invite all of you to visit Zinnober Facebook page (In english and German) and be around to the final announcement.
Zinnober created by Ralf Singh & Thorsten Brochhaus
Story – Ralf Singh & Thorsten Brochhaus
Inks – Cristian Docolomansky
Colors – Ilaria Fella
Lettering – Taylor Esposito
So, a new year comes to an end. And this has been a weird one.
It’s Dec. 31, and we are supposed to do the all new year’s preps but just three minutes ago I finished my last gig of the year, a 30 page inking graphic novel, the sequel to Attica, for BRM. Deadline meet!
So, in comparison with the other years, well I’m short of time so I’ll take my pal Kelly Bender’s way to make the review and I’ll do it listing Top and Low parts of the year.
TOP: My top moment this year (I’m writing this in a rush, so probably I’d lose some in the process)
- Teaching comics to children in rural schools outside Santiago: Thanks Diego Toro for inviting me. I was scared, but i discovered something I thought I forgot: that I love comics and I enjoyed teaching that to kids. That was a very high point.
- This has been the the most productive year:
- Starburn was finally published in the UK. Inks – Thanks Kelly Bender
- La Senda Del Errante – Pecados – Inks and Letters – Thanks German, Sebastián, Lucho, Fafo, Danny and Carlos.
- Back To The Future: Citizen Brown #3 and #4 – Inks – Thanks Alan
- Attica: Kinslayer – Inks and letters – – Thanks Bill, Lucho and Kóte.
- And lots of short stories in anthologies like IF Anthology; FutureQuake, Dogbreath, Monster Smash-Ups, and Chronicles of Terror. – Thanks Alexandar.
- and the James Bong webcomic with – Thanks, James, Bianca, Joaquin, Luca
- Last but not least, I got asked to do some helping hand for IDW for the first time. Not many pages, but it was a start. Thanks Alan for the call.
- STARBURN will be published in the US via INSANE COMICS, which accoplishes – I hope – a new chance to make this book available to new readers. The old publisher left me with a bitter taste because we saw no promotion, sales or even care for the book.
- I finished my first miniseries, TEAR, with Mike Simon. It took three years, but it was a very satisfying feeling seeing the huge stack of pages and the evolution. I hope to keep involved in the project next year. – Thanks Mike!
- I tattooed myself. Yeah, many of you have tattoos, but i have being postponing the idea until I got hired by a major publisher and since time was flying by and nothing seem to happen, then i decided to push things and grab a piece of paper, threw some inks with many sense and had that tattooed in my arm. it’s a huge step forward to me and my self-esteem, and up until today, seems to work.
- I believe that 2017 would probably have some news from the following comics
- Zinnober – Thanks Ralph, Illaria, Thorsten, and Taylor
- The Drif T – By Bender and Ching.
- Raupatu – By Gatonyi, Shilito, Inzunza and Kote.
- and I hope, many more!
- Many of my publications were made with no payment whatsoever. Just to grow portfolio. It’s ok, but sometimes it’s quite frustrating seeing no income for such amount of work.
- Yeah: Inner demons, too. I mean, 4 years being isolated somehow leaves you wondering if you have what it takes to make comics for a living and mostly if you are an inker. The feeling of dependance of third parties and some patronizing towards the craft left me thinking about the future. Then came the school teaching thing and that disappeared.
Thanks for all who helped me to keep working, and my first hug goes to my espectacular wife, Paula and my dog Facundo.
c’ya next year!
I am free to share this:
STARBURN is coming to America thanks to Insane Comics, LLC & will be a trade paperback!
This is a miniseries I worked with Kelly Bender, Brian Balondo and Laura Lee back in 2014 / 2015. After regaining the publishing rights from Markosia, Kelly offered it to his preferred publisher of choice for the american Market, Insane Comics. The new book will feature a new TPB cover by artist Brian Balondo.
STARBURN is the greatest ship in the Galaxy, and everybody wants to own it. But it’s not the kind of ship you can buy, you have to steal it!
Its current owner is Captain Aphi and his motley crew of space scoundrels, are hired for a simple pick up and drop off job. The crew quickly finds out that nothing is simple when STARBURN is involved, battling giant space creatures, armies, space pirates and each other, the crew will have to make tough choices to not only survive but retain STARBURN.
COMING SPRING 2017 FROM INSANE COMICS
Just to tell you that I have just recently finished the 6 issue miniseries named Tear. it’s probably more than 150 pages.
This has been in production for a long time, since mid 2014. Long time since we started issue 01.
Mike Simon is the creator and writer and Argentinian penciler Federico Zumel gives his energetic pencils. I did my best inking traditionally.
Production is in coloring and hopefully it’ll be starting lettering pretty soon so we can see who’s the publisher.
I expect to see it printed in 2017. I’ll keep you posted.