I laid out the piece in light pencil, then basically did the "finished pencils" with the gray tones. When they were done, I went in with the black pen.
|Posted: 07 February 2012 at 10:27am | IP Logged | 1
That's very interesting to me, most of the artists I know would do the reverse. This certainly worked! Now I want to go pull out some markers and try it!
I imagine JB would have to do this to avoid the chance of smudging.
Yes, as I discovered long ago, black ink has a tendency to smear into colors or gray tones applied on top of it. Sometimes this can actually be used to advantage (I did it deliberately with some of the sewage in this piece, taking a second pass with the gray pen to smudge the black ink), but those occasions are rare.
And if it happens when you DON'T want it to. . . OY!!
Also note that Wally Wood almost certainly drew the panel above this way, laying down the gray tones first, and then spotting the black holding lines as he deemed them necessary.
(One of the great frustrations of my career, to date, came when I convinced DC to let me use gray tones on OMAC. They agreed, conditional that they would also be able to publish a color version. Unfortunately, this meant that I had to draw the whole thing without tones, so stats could be shot, and then add the tones later. Which meant that I could not use the grays for holding lines, or volumes, since on the untoned pages there would then be no lines to hold the color. And then, of course, the editor LOST the stats!!!!!)