Comic Inking and Paper question.

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Usagi
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Comic Inking and Paper question.

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:D Ok BIG question. I’m Working on my project for my partner John, who wont stop hounding me enough to get my work done+ college + Religious study= One Stressed person<-- that person being me.

I’m down to the nitty gritty of doing my "practice" drawings - Not an easy thing for me, cense I have no Depth perception and soon I'll have to Ink my big 11X14 size paper (Which was suppose to get a 11X 17 but I will have to order it offline) - Ink is a lot of money- and I don't want to have to resort to using my tablet and Photoshop- Cense I love inking by hand. I use "Staedtler Pigment Liner" and "Pigma Graphic3" - Are there any better pens that can withhold the massive size of paper without going out of ink?..

I remember Stan at AWA passing around one of his works in progress- and now wonder if that is the paper that is to be used when inking your final picture?-

I am still doing my research on what to use and not what to use, and not what to use as far as art materials go. John wants my Final Project by June and Iv not even started on my practice stuff..
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Stan Sakai
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Re: Comic Inking and Paper question.

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Usagi wrote:
I use "Staedtler Pigment Liner" and "Pigma Graphic3" - Are there any better pens that can withhold the massive size of paper without going out of ink?..

I remember Stan at AWA passing around one of his works in progress- and now wonder if that is the paper that is to be used when inking your final picture?-
I use a flexible tip fountain pen to ink with. I fill it with Badger Black Opaque ink. It is a smooth-flowing, permanent ink. It can be hard to find in art supply stores. Some other artists I know like to use Higgins Black Magic. Make sure the ink you use is permanent. Many markers use dyes instead of pigment. They tend to either fade, or attack the paper turning it yellow or brown.

The paper I use is Strathmore 500 series bristol board, 2 ply, kid finish. the paper size is 11x 17 inches, with a 10 x 15 inch image area.

I really like your new rabbit self-portrait icon.
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Re: Comic Inking and Paper question.

Post by Usagi »

Stan Sakai wrote:
I use a flexible tip fountain pen to ink with. I fill it with Badger Black Opaque ink. It is a smooth-flowing, permanent ink. It can be hard to find in art supply stores. Some other artists I know like to use Higgins Black Magic. Make sure the ink you use is permanent. Many markers use dyes instead of pigment. They tend to either fade, or attack the paper turning it yellow or brown.

The paper I use is Strathmore 500 series bristol board, 2 ply, kid finish. the paper size is 11x 17 inches, with a 10 x 15 inch image area.

I really like your new rabbit self-portrait icon.
So- You outline with the pen and then ink wih with a brush like you would, if you were painiting a picture? I found a page online Blue Line Pro- that I am looking at for pens and art board. I bought a reg one for now- cense this is my first attept at comic art.

Higgins black magic- I will keep an eye out for that online. Do you know if Copic or Sakura would be any good? So far, all my pens and markers (Copic and Prismacolor) are permanent ink (along with my liners)-

I tried looking for the Strathmore 500 bristol board, but the page I said dont have it taht big- so I'll keep an eye out for that too-

my biggest fear after this...-- Printing.....

Thanks Stan!- This Icon, I croped it from a picture that John Keane did of me as my little furry self. I love it :) I drew him as a lion, but he said he looked cheesy.
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Stan Sakai
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Re: Comic Inking and Paper question.

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Usagi wrote:
So- You outline with the pen and then ink wih with a brush like you would, if you were painiting a picture? I found a page online Blue Line Pro- that I am looking at for pens and art board. I bought a reg one for now- cense this is my first attept at comic art.

Higgins black magic- I will keep an eye out for that online. Do you know if Copic or Sakura would be any good? So far, all my pens and markers (Copic and Prismacolor) are permanent ink (along with my liners)-

I use the brush for spotting in the blacks. Even then, I use a nylon bristled Pentel Brush Pen. It has a reservoir in the handle which I fill with Badger Black Opaque ink. When I need more ink, I squeeze the handle to let out more ink. It also has a cap, so I don't have to wash out the brush each time I use it. New, it has a nice tip for inking fine lines, but mine is worn down, but its still good for spotting.

I don't know about Copic or Sakura. Make a mark on a piece of paper, and leave them in the sun for a week or so to see what happens.
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Re: Comic Inking and Paper question.

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Stan Sakai wrote:
I use the brush for spotting in the blacks. Even then, I use a nylon bristled Pentel Brush Pen. It has a reservoir in the handle which I fill with Badger Black Opaque ink. When I need more ink, I squeeze the handle to let out more ink. It also has a cap, so I don't have to wash out the brush each time I use it. New, it has a nice tip for inking fine lines, but mine is worn down, but its still good for spotting.

I don't know about Copic or Sakura. Make a mark on a piece of paper, and leave them in the sun for a week or so to see what happens.
:shock: Ohhhh. A lot of what your saying Iv never even hurd of! Wow- I like that little tool! :D Might you show me a link or a picture of what that bruch looks like?

So, When I do ink, I won't have to acctually "paint" the lines. Thats great ^_^- What does spotting mean? - Like spotting Usagi's top?...
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Re: Comic Inking and Paper question.

Post by Stan Sakai »

Usagi wrote:
:shock: Ohhhh. A lot of what your saying Iv never even hurd of! Wow- I like that little tool! :D Might you show me a link or a picture of what that bruch looks like?

So, When I do ink, I won't have to acctually "paint" the lines. Thats great ^_^- What does spotting mean? - Like spotting Usagi's top?...
Here is a link to what the brush pen looks like. It comes with the resevoir filled with a dye. I don't bother using it. Instead, I dump it out and wash out the resevoir/handle. I squeeze all the air out, and, holding it upright, gradually release pressure as I drop my own ink slowly into the resevoir opening. The vaccuum sucks the ink in. Also, I can use the same resevoir again and again.

http://www.currys.com/pennibs/prodinfo3 ... 3&catID=17

I see this particular company does not ship to the US. Hopefully, the brush pens are available here.

"Spotting blacks" is an industry term. Basically, it is filling in large black areas on the art (like Usagi's hakama pants, or nighttime sky). Particularly, it means to put enough black areas on the page to make it appealing to the eye, otherwise it may look too empty. That is especially important when dealing with a black and white comic book.

As I said, I use the brush mainly for larger black areas. Everything else is done with pens, mostly by a Kooh-i-noor Art Pen (now discontinued by the manufacturer), and Rotring Art Pens of various thicknesses.
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Re: Comic Inking and Paper question.

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Stan Sakai wrote:
Here is a link to what the brush pen looks like. It comes with the resevoir filled with a dye. I don't bother using it. Instead, I dump it out and wash out the resevoir/handle. I squeeze all the air out, and, holding it upright, gradually release pressure as I drop my own ink slowly into the resevoir opening. The vaccuum sucks the ink in. Also, I can use the same resevoir again and again.

http://www.currys.com/pennibs/prodinfo3 ... 3&catID=17

I see this particular company does not ship to the US. Hopefully, the brush pens are available here.

"Spotting blacks" is an industry term. Basically, it is filling in large black areas on the art (like Usagi's hakama pants, or nighttime sky). Particularly, it means to put enough black areas on the page to make it appealing to the eye, otherwise it may look too empty. That is especially important when dealing with a black and white comic book.

As I said, I use the brush mainly for larger black areas. Everything else is done with pens, mostly by a Kooh-i-noor Art Pen (now discontinued by the manufacturer), and Rotring Art Pens of various thicknesses.

COOL!- ^_^ I will have too look around for one similar to that one! There is a really good art store in St. Louis I might try. Thanks for that little tip- It’ will be helpful when I go shopping and not spend boo-koo on “Experimental pens and ink” – I would, like you prefer to buy one pen and get refills- Thanks for that link ^_^

Oh! Thanks for that side note on Spotting!- I just took that as a note. I learned something new today!- I get what you mean about the empty spaces. That makes sense now!
Brush= large arias Pen = smaller normal arias’ gotcha!

Another question that comes to mind- John said to leave space for the “talking bubble” – but what if I run out of space and cant put one in? – Or can I move the panels to another page if another panel is too big? (ex- panel 2 and 3 are big- and end up filling the page- but the script says that all the panels (that being 1, ,2, 3, 4, 5 to a page) can if on the one page)
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Re: Comic Inking and Paper question.

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Usagi wrote:
Another question that comes to mind- John said to leave space for the “talking bubble” – but what if I run out of space and cant put one in? – Or can I move the panels to another page if another panel is too big? (ex- panel 2 and 3 are big- and end up filling the page- but the script says that all the panels (that being 1, ,2, 3, 4, 5? to a page) can if on the one page)
The word balloon (or talking bubble) should be part of the composition when you first lay out the panel or page. Remember, in the western world we read from left to right and top to bottom, so lay out the balloons so that we naturally read them in that order. I hand letter my own stories, so I make sure I leave room for the balloons. In the Spider-man Sunday newspaper strips that I also letter, Stan Lee insists that Alex Saviuk write the dialogue on the original pencil art. This assures that there is enough room (and also Stan doesn't need to refer back to the script pages when looking over the art). I letter in the dialogue, then send the art back to Stan. He sends it out to Joe Sinnott for inking, who returns it to him. Stan then sends it off to the colorist. What would we do without FedEx!

Unfortunately, many writers new to comic books tend to overwrite and cram too much in one panel or page. I suggest before changing the story too much, you talk to John and explain your feelings about panel layouts and story pacing.
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Re: Comic Inking and Paper question.

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Stan Sakai wrote: The word balloon (or talking bubble) should be part of the composition when you first lay out the panel or page. Remember, in the western world we read from left to right and top to bottom, so lay out the balloons so that we naturally read them in that order. I hand letter my own stories, so I make sure I leave room for the balloons. In the Spider-man Sunday newspaper strips that I also letter, Stan Lee insists that Alex Saviuk write the dialogue on the original pencil art. This assures that there is enough room (and also Stan doesn't need to refer back to the script pages when looking over the art). I letter in the dialogue, then send the art back to Stan. He sends it out to Joe Sinnott for inking, who returns it to him. Stan then sends it off to the colorist. What would we do without FedEx!

Unfortunately, many writers new to comic books tend to overwrite and cram too much in one panel or page. I suggest before changing the story too much, you talk to John and explain your feelings about panel layouts and story pacing.
Yes, word balloon! I knew it was something along that line. When adding in the word balloon, I get stuck on what to really do layout wise, such as how big and what I want the panel to look like, angle wise, etc…It’s harder then I thought! But’ I’ve looked through some comics to give me some ideas. So far, I’m going to stick with the traditional boxed panels until I am comfortable with getting a little more creative.

I did my first page of rough panels and for a first time, they looked horrible. I showed it to John, and he redid it- with his “first interpretation” of how it would go. It’s amazing to see someone who has done this for a while, just come up with a page of rough panels in just 5 minutes! (Well he scribbled stick animals for me LoL!)

John gives me creative freedom with the layout design and give me tips on how to write out what my Characters are saying. It’s a bit challenging, but in most of the comics I’ve read, even in yours, the panels have Little to No words, which John Encourages me to do as much I can. He said if you can express something w/o words. DO IT.- So far- I am pretty good at that. I don’t know how long this Practice panel layout is going to be, he won’t let me do a Final page, till he thinks its good enough.

He also said that if my script says 7 panels, but I may have to make more- to make sure that the panels fit within the page. So like if at the end of the script (of a chapter) the character walks out of the room- make sure that that is at the bottom of the page- and not at the beginning or the middle- of were a new chapter may be. (I hope you understood all that)

Wow! That’s amazing that you and many other artists tag team on Art and such, that’s great!- Hurray for Fed Ex! ^_^
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