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Dave Kopperman
Byrne Robotics Member
Joined: 27 December 2004
Location: United States
Posts: 3449
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| Posted: 28 March 2006 at 1:26pm | IP Logged | 1
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Thanks, guys.
Actually, a question I leave up to the other people on the board: the path in
front of the castle. Steve has it as brick/stone pavement, and Darren has a
boardwalk. Being the guy who bridges the two pages, and not really having
a preference either way, what do you all think I should do?
I know! Gumdrops!
Steve & Darren: I also accept bribes...
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Guest79877180
Byrne Robotics Member
Joined: 20 April 2005
Location: United States
Posts: 2387
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| Posted: 28 March 2006 at 2:24pm | IP Logged | 2
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Breadcrumbs so she can find her way back...
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Matt Phillips
Byrne Robotics Member
Joined: 16 April 2004
Location: United States
Posts: 190
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| Posted: 28 March 2006 at 11:08pm | IP Logged | 3
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I am definitely set for inkinf that page Dave. It looks great. Right now I'm looking for a place in town that can make 11 x 17 prints. I debated on getting a printer for myself that could do it, but decided this would be better for now. One quick question, do any of you guys that are inking have any suggestions for printing these out? Should I set it up in the nonrepro blue that was talked about way back when on some far away thread? I tried inking an 8 x 11 print and it fell way short of what the pencils deserved. So I'm getting a full size print. I may do one of the black pencils and then one in the blue.
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Luis Rivera
Byrne Robotics Member
Joined: 31 March 2005
Location: United States
Posts: 54
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| Posted: 29 March 2006 at 2:08am | IP Logged | 4
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is there a kinkos copy center where you lived?, you can do the blue print there
you can use their color copy and useyour 11 x17 pencils and make them blue
in the settings andthen printed in blue ink, http://lururinu.deviantart.com/
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Justin Wasson
Byrne Robotics Member
Joined: 16 April 2004
Location: United States
Posts: 809
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| Posted: 29 March 2006 at 7:59am | IP Logged | 5
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Any news on my pages?
Justin Wasson
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Guest79877180
Byrne Robotics Member
Joined: 20 April 2005
Location: United States
Posts: 2387
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| Posted: 29 March 2006 at 8:23am | IP Logged | 6
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Justin - which ones? The ones I did?
Matt P - this is a subject near and dear to my heart.
I have access to a 11 x 17 printer, and when I print it out in blue, when using
a brush, the ink sometimes didn't take to the line - which was an issue with
even the pros for awhile, the blue toner leaves almost a "wax" like
coating. With pens the ink seems to sit better, but as the nature of
pens, takes longer to dry when inking.
What I have done (when not working completely digital in PS) is to either print
them out at 11 x 17 on a regular piece of paper (thinner is better for this -
in black), then lightbox that sucker! Keeping an 8-1/2 x 11 near by of
the original pencils for reference is handy. Another way I've had success
is to print out the pencils on the back of my Bristol in -reverse-, then I don't have to
tape the sheet to the back when I lightbox it. The only problem is that
if you're going to sell it as a commission or something, they will have the
printout on the back.
You can also do the first way yourself at home with your current printer.
Just "panel" the pencils into to 8-1/2 x 11 sheets insuring that
there is -some- overlap, print out the two sheet and use clear tape to attach
them. Vola! No trip to Kinko’s to get 11 x 17.
Anyway, hope this makes sense.
Edited by Matthew T. Carpenter, Sr. on 29 March 2006 at 8:25am
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Matt Phillips
Byrne Robotics Member
Joined: 16 April 2004
Location: United States
Posts: 190
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| Posted: 29 March 2006 at 9:24am | IP Logged | 7
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That is a great idea, Matthew! I'm going to try printing it out and pasting the panels onto an 11 x 17 sheet of paper! Excellent. And thank you so much for the advice, especially about the blue ink.
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Guest79877180
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| Posted: 29 March 2006 at 10:03am | IP Logged | 8
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That's the subtle difference right there, and I guess I
should have expounded on it more...
Toner is different than ink. Toner is a powder that is put through some
process (heat?) and hardened -on to-, and somewhat -in to- the paper.
Ink is a liquid that goes -in to- and -on to- the paper (note the difference in
the order). You should have no problem inking over an inkjet printout
because of the nature of the ink. But not many Kinko's or printing places
offer 11 x 17 -inkjet- printing.
So you have to be careful with the difference. It's subtle, but there.
Glad I could help. Good luck with your page! Looking forward to
seeing it.
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Dave Kopperman
Byrne Robotics Member
Joined: 27 December 2004
Location: United States
Posts: 3449
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| Posted: 29 March 2006 at 11:00am | IP Logged | 9
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Thinking about that - since the actual image size in this case is 10" x 15"
(minus about 3/8" all around), maybe that will make things easier?
When I printed the page I inked, I just did it on my black and white (at a
pretty low screen), which can handle tabloid size. This meant a certain
amount of clean-up in Phosothop when I was done, but since I was
coloring the page, it was all part of the process.
The drawback to this is that I've given you a page with a lot of tonal work,
and that's going to be a drag to airbrush it all out.
I've also done lightbox inking, and - ugh. Hate it. The light box is a
great tool for layout and composition, but I don't think it's really meant
for finish. Spending that much time over it makes you feel like you've
stepped into (or out of) a Gilliam film.
I'll have to try that back of the sheet method. That sounds like it could
improve things.
I'm sort of surpised no one has invinted a graphite printer, or some such
- eraseable printing for layout work! Ooh. That would be cool.
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Guest79877180
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| Posted: 29 March 2006 at 12:28pm | IP Logged | 10
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Dave - you bring up some good points. My struggle is that when
inking by hand I try very hard not to have to touch up in PS due to the
thought process of having a "finished" piece of work that you can
resell. And I know...there is ZERO demand for my finished inks,
but it's what I strive for.
I find I use PS as a crutch when inking by hand - so much so that I
just about gave up inking by hand and do it all digital now. So
basically I just shoot myself in the foot altogether, and just not have
-anything- to show for all my hard work except some 0's and 1's...
I agree about staring at the lightbox for too long. It's like
looking into a bright TV screen. Another way of working is to
trace all the pencils onto your paper, then ink over it. I think
you'd have to be a really damn good artist to do this and not loose too
much of the original intent of the pencils.
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Dave Kopperman
Byrne Robotics Member
Joined: 27 December 2004
Location: United States
Posts: 3449
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| Posted: 29 March 2006 at 1:47pm | IP Logged | 11
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Matt C.: I also feel a twinge of guilt when I do clean up in virtual space,
but - eh, a tool is a tool. And, frankly, I'd be pretty useless without it.
One of the reasons i stopped drawing for so long was that I just got
frustrated with the limits of my finishing skill, and computers let me
break through that wall.
And don't even mention color - without the ability to juggle colors back
and forth, I'd never do another color piece again. All of my old oil
painitngs hew to the muddy brown spectrum, a result of endless fidgeting
with getting those light sources right. I'm a hair better in watercolor/
gouache, but my preferred method for it - laying down frisket, washing in
and cutting away - was unreliable AND tedious.
If you ever get to the point that people do want to buy your work, why not
offer to sign their hard drive as an added incentive?
------------------------
Caution: Tangent on Matt's "Finished" work
I may be the ONLY person on the board that feels this way, but I don't
really regard a page of comic production art as being much of anything. I
only own two: a Joe Staton from some random issue of the Green Lantern
Corps that I bought when I was 15 or so (I think he was selling them for
$25 or something - I hope he gets way more than that, now), and a page
from Finder that I got in '04 as a deal when I bought a stack of trades.
The reason for this is pretty simple. While I worship comics as an art
form - and a HIGH art form, at that - to me, the published book itself is
the work, not the original page of production art. Moreso, now that the
lettering isn't even on the page, anymore. Owning a page of art to me,
while neat, doesn't really go to where I appreciate comics - as a
storytelling art. Owning one apge of a 24 page comic is like if someone
took a Vermeer and chopped it up into little segments and sold them off
as drink coasters.
Of course, I don't begrudge artists selling their pages (for some, it brings
much needed income), and I'm thrilled that the major companies no
longer indulge in the obnoxious practice of keeping the art. It's just that,
well, I've blown some income, and now it's on my wall... and? Making
note of little pencilled doodles or margin notes and their interesting
histories aside, I've learned nothing more about the process of making
comics, and I now can afford several dozen fewer comics as a result of
having bought one single page.
My friend Jim has an original page of "Powers," and it's missing two
panels, becuase those were reproduced in a later stage to have 'beats.'
Weird thing to have on your wall. A piece of Bristol board with big white
spaces containing hastily scrawled notes saying 'repro. panel here.'
About the only argument for page buying to me is that it supports the
artist instead of the corporation, but... anyway.
End tangent.
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Justin Wasson
Byrne Robotics Member
Joined: 16 April 2004
Location: United States
Posts: 809
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| Posted: 29 March 2006 at 3:32pm | IP Logged | 12
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Mattew said: Justin - which ones? The ones I did?
************************************************************ *******************************
Justin responds: Any of them. I only have one page that's finished (inks and colors).
Justin Wasson
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Topic Closed)
