A place to dump tutorials and/or references I find

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How I Ink


I’m going to share with you my process and thoughts on inking.

Canvas size I work with is around 6k pixels or more, with a very light blue or greyish background. I start with a light blue sketch and drop the opacity of to around 15%. Working on multiple layers I ink using a color that is usually in the red spectrum (Web hex color code example #70ab2a).

Now to explain all this nonsense:

1) Why drop the opacity? I like to be able to barely see the under drawing. I want to be able to expand on the sketch instead of feeling locked into it. If the sketch it too dark you end up tracing more than inking. At least that’s what it feels like to me. If the sketch is too dark, it conflicts with the visibility of the inking as well as distracts me from the process. It also helps hide any lighter lines that tend to be used to build the sketch.

2) Why a blue sketch? Blue is soft on the eyes, reduces eye strain and makes working more pleasent.

3) Why such a big canvas? This simulates working big in traditional media. A lot of comics are worked on at double or sometimes triple size. Little imperfections like lines not matching up, faint accidents, rough edge quality and so forth tends to seem removed or become diminished when resized to the smaller, final size. It also allows my art to be ready for print, not needing to worry about re-working the content if it’s too small.

4) Why use multiple layers? This isn’t always the case and it can get out of control and be annoying if you use too many. The use of multiple layers to ink has to do with intersecting lines. Drawing the background behind a character means you have to eyeball where lines match up behind them. If you draw straight through your characters on another layer and simply erase you can ensure the lines will be accurate. Elements like facial features go on its own layer because I want to be able to edit the face in case I made it too small or the eyes feel wrong without having to hurt the hair or other elements that occlude the face. The same also applies to skin tight clothing. The goal is to ensure the quality of the line stroke without harming previous work.

5) Why colored ink? I find that black ink tends to have a few issues. High contrasts tend to wear down your eyes. Pure black also accentuates tiny flaws in your inks, which I feel you can usually ignore as unnoticeable imperfections when using a different color. Colored ink, especially in the red spectrum, shows up well against the blue. It allows for a strong contrast without being harsh on the eyes. There are additional benefits: The lighter you go the less you can pick up on ink flaws. If you have a hard time not getting bogged down in details, using a light color may help you. It’s just harder to see all the tiny little flaws so your focus is more on the general piece as a whole and less on individual components.

6) Why ink on a light blue/gray background? This just reduces more harsh contrast, eye strain stuff. Staring at a big bright white screen for hours is tiring.

Inking tool?

I have an assortment of about 15 inkers that I’ve made for myself to fit specific needs. They all have a different feel and my selection of those inkers or making new ones depend on my mood, my artistic direction and the projects overall look or intended look. If I want something cartoony I ensure my inker has a round tip and doesn’t fluctuate in size much. If I want something sharp or edgy I use a rectangular or triangular brush tip with stronger size variation. I keep tweaking the brush and inking a page until it feels right. I then note the size of the brush. I often have 2 sizes or 2 brushes I use per job. 1 for overall line work and another for details and hatching. Choosing an inking tool is about your comfort. I’ve inked in varying tools. My latest comic, Inner Fire, was done with Paint Tool Sai’s default marker tool. I did this to keep the feeling of the comic soft and round.

Support at http://www.patreon.com/doxydoo

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When it comes to creating characters, sometimes it’s easy to let them slip into the same old stock standard set of body types. Basically clones with a few props, hairdos and make up to spice things up a bit. After a while, having the same actor play dress up for every character gets kinda boring…

It’s tough to break the habit too, especially when you’re taught a single set way to draw. Not to say having a solid construction method is ever a bad thing, as long as it doesn’t confine your creativity.

Check out these nifty tips and pointers by jeinu to give each of your comic book characters their own a unique flavour of memorable originality.

(To download these at full res simply hit the options menu and click download, otherwise head on over to jeinu’s DeviantArt Tutorial Gallery at http://jeinu.deviantart.com/gallery/25335623/Tutorials )

This is important, and something I super need to improve on. All these tips and stuff for drawing are crazy useful and very, very appreciated. 

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