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A lot of people have asked me since I started posting more inkwork what tools I use, and I am SUPREMELY happy to spread the word, but I feel like it needs to come with a disclaimer on USAGE for the tools I'm promoting, and all that doesn't quite fit in a comment box, so I decided to cobble together a little journal to link to when it comes up.
There are people out there with feelings about paper. Frankly, I don't care as much. I care about the paper I PAINT on, but for inkwork, it's more about the brush for me. For the record, I generally use bristol board, which is common for comics, but right now I'm using Fabriano series 4 drafting paper, rough, cause that's what I can get in Rome!
I use a Windsor Newton, Series 7, Size 3 brush. Started out with a size 2, which is great for slick lines but I find if I want the full range of expressive lines, I need the chunkier, sexier size 3. This is the only tool I have heard praised by 3 different teachers as "the only tool that will actually make you a better artist." WN series 7 is the best brush out there, and sizes 2 and 3 are ideal for ink work because of the spring and point. The Kolinsky sable hair maintains a truly heavenly point, and even though there's a dud in every batch, the series 7 is the most consistently well-made brush. The thing about the series 7 is, it's really expensive. (If you're looking to save a few bucks, I've also heard good things about the Raphael designer sable hair brushes but I've never tried them myself.) HOWEVER IF you take good care of it, which is super easy, it's WAY worth shelling out.
Here is a really excellent basic tutorial: (It's the video on the right) www.cvcomics.com/artandstory/
That's the brush I use! Don't freak out when you go to buy one and see how big it is, thinking "but I'm a detail person!" It is actually 10X easier to make smaller marks with this brush than a smaller one because it HOLDS its point, which goes down to like a single hair. Also the bigger brush holds more ink so you won't have to fill as often which, as you see in the tutorial, is something of a process.
A little technique, a lot of this is mentioned in the tutorial, and this is all the stuff I do as well:
Notice how you can actually hear him making strokes in the video? That's cause his hand is resting on the paper. This is super important. Your anchor point (where you rest your weight,) should be at base of your palm or, if you are making big strokes, on your forearm. NOT YOUR FINGERS. Keeping weight on your hand will help free up the brush to make really clean marks, lifting your arm or putting pressure on your fingers results in woogly inconsistent and unmanageable lines. You can see in the video the way he makes the big marks made up of lots of little ones- I don't do that. I prefer the one-line aesthetic to sketchy style but that is personal. If you like sort of juicier, slicker lines, like me, that is when you would rest your weight on your forearm and do it in one big line!
Another thing that's super important is the DIRECTION. Always brush in an up-and-away-from-your-center direction. Plant your elbow on the table and swing your forearm- that is your natural stroke. Keep turning your paper so that you are always inking in that direction.
The last thing is, in terms of care, he's spot on in the video. If, however, you are a messier inker (like me,) and you get inky buildup, use a little brush soap on your fingers and pull it through the brush hairs, always downwards, super gently. Don't rub, just pull. Rinse well, and then lick it! That's not an eccentricity, it's actually really useful in terms of preserving your brush- keeps your brush trained in a crisp point instead of getting all feathery when it dries.
Okay I think that's it hopefully now when you try it you won't get scared off cause it looks like dooky, that totally happened to me the first time I tried brush but it was just cause I didn't know how!
Good luck and show me what you dooooooooo I wanna seeeeeeeeeeee!
There are people out there with feelings about paper. Frankly, I don't care as much. I care about the paper I PAINT on, but for inkwork, it's more about the brush for me. For the record, I generally use bristol board, which is common for comics, but right now I'm using Fabriano series 4 drafting paper, rough, cause that's what I can get in Rome!
I use a Windsor Newton, Series 7, Size 3 brush. Started out with a size 2, which is great for slick lines but I find if I want the full range of expressive lines, I need the chunkier, sexier size 3. This is the only tool I have heard praised by 3 different teachers as "the only tool that will actually make you a better artist." WN series 7 is the best brush out there, and sizes 2 and 3 are ideal for ink work because of the spring and point. The Kolinsky sable hair maintains a truly heavenly point, and even though there's a dud in every batch, the series 7 is the most consistently well-made brush. The thing about the series 7 is, it's really expensive. (If you're looking to save a few bucks, I've also heard good things about the Raphael designer sable hair brushes but I've never tried them myself.) HOWEVER IF you take good care of it, which is super easy, it's WAY worth shelling out.
Here is a really excellent basic tutorial: (It's the video on the right) www.cvcomics.com/artandstory/
That's the brush I use! Don't freak out when you go to buy one and see how big it is, thinking "but I'm a detail person!" It is actually 10X easier to make smaller marks with this brush than a smaller one because it HOLDS its point, which goes down to like a single hair. Also the bigger brush holds more ink so you won't have to fill as often which, as you see in the tutorial, is something of a process.
A little technique, a lot of this is mentioned in the tutorial, and this is all the stuff I do as well:
Notice how you can actually hear him making strokes in the video? That's cause his hand is resting on the paper. This is super important. Your anchor point (where you rest your weight,) should be at base of your palm or, if you are making big strokes, on your forearm. NOT YOUR FINGERS. Keeping weight on your hand will help free up the brush to make really clean marks, lifting your arm or putting pressure on your fingers results in woogly inconsistent and unmanageable lines. You can see in the video the way he makes the big marks made up of lots of little ones- I don't do that. I prefer the one-line aesthetic to sketchy style but that is personal. If you like sort of juicier, slicker lines, like me, that is when you would rest your weight on your forearm and do it in one big line!
Another thing that's super important is the DIRECTION. Always brush in an up-and-away-from-your-center direction. Plant your elbow on the table and swing your forearm- that is your natural stroke. Keep turning your paper so that you are always inking in that direction.
The last thing is, in terms of care, he's spot on in the video. If, however, you are a messier inker (like me,) and you get inky buildup, use a little brush soap on your fingers and pull it through the brush hairs, always downwards, super gently. Don't rub, just pull. Rinse well, and then lick it! That's not an eccentricity, it's actually really useful in terms of preserving your brush- keeps your brush trained in a crisp point instead of getting all feathery when it dries.
Okay I think that's it hopefully now when you try it you won't get scared off cause it looks like dooky, that totally happened to me the first time I tried brush but it was just cause I didn't know how!
Good luck and show me what you dooooooooo I wanna seeeeeeeeeeee!
Teaching in Boston
Hey All! As some of you know, I've been tutoring via skype for some time, but this winter I'm expanding into the REAL LIVE WORLD of teaching classes! For the month of December, I'll be doing a trial and seeing if this is a tenable arrangement, so I get to teach WHATEVER THE HECK I FEEL LIKE.
So I wanted to A) let those among you who are Bostonians know this was going on, and B) ask you for feedback. What classes would you be most interested in taking? Have you taught/attended independent arts classes before and you have suggestions or anything? What days/times would you be most likely to go to? All RIGHT!
P.S. this IS connected to the
DA's Commissions Shop
So this is a thing! http://www.deviantart.com/commissions/
So. Your friendly neighborhood Auntie Toerning is going to step in for a second here. Firstly, I think it's very groovy and awesome that DA is establishing their own marketplace. It's a scary world out there of work for hire and it's totally awesome that DA artists now have this stepping stool to practice professional habits in the same way that we practice artistic skills!
A
BIG
FAT
HOWEVER
I would like to take a moment to discuss the rates here. I was just exploring quickly, and saw on the navigation on the left "price," and, like every other human on the planet, clicked
Comic Composition Geekout
SPECIAL GUEST STAR (against his knowledge) IS ~Andrew-Ross-MacLean (https://www.deviantart.com/andrew-ross-maclean)
You guys know when I get really excited about art geekery, I JUST CAN'T KEEP IT IN. I also feel like composition is a really hard thing to learn, and all you can really do is try to learn "what is good" in composition, and then try to find examples until you can recognize it. In addition, composition for comics is extra hard because you have to worry about the overall flow of the page as well as the composition of each individual panel.
So I was doing my spring cleaning of my message center and came on some new comic pages he uploaded, all of which are awesome, but ta
Shared Studio Spaces
This is something I've been thinking a lot about. The fact of the matter is, as much as it's awesome, I don't work my best from home. I want to be able to "go to work" in the morning, see people, do my thing, and then come home. There are too many complications and distractions working from home, and too few opportunities to participate in the world as a human being. And I know of co-working spaces, to be sure there are loads of options in San Francisco, but having visited a bunch of them, there aren't any just right. I've always had a fantasy of starting a shared studio space, a small one, not a big vaulty warehouse style thing, maybe a
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what kind of ink do you use? I use windsor newton but it tends to bleed when I try to color it.