How To Draw Manga - 17 Preview - PDF by wfq13152

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									Inks are Key
     Welcome Back to How to Draw Manga!
      As AP’s current submissions editor, I come across plenty of work from many different artists.
Most of the work I come across is all full of potential and I have every reason to believe that the
future of American Manga and AP Comics will be secure for some time. A lot of you have great
talent and I am glad you are reading this right now.
      One of the things I notice right away in a submission is the inking. Of all the work out there
right now, it is the inks which the public will mostly get to see.



“A salute
to all you
hard-
working
inkers—
the wind
beneath
every
pencil-
ler’s




      Indeed, we all seem to underestimate the importance of good linework these days. Everyone
wants to be a penciller, but it is the inker who dictates whether the pencils truly become spectacular
or not.
      Truly, the inker has the power to literally make or break pencillers. A top-notch inker brings
out the best in an artist and a mediocre one will ruin good pencils.

      So allow me this small moment to salute all the great inkers out there who silently support all
the great pencillers we know and admire.

     Now, on to our subject for the month—Inking!

      Many of us here at AP ink our own work. Many Japanese artists ink their own work as well.
This “one-man band” synergy is a vital component for bringing about the best in a storyteller.
      While specializing in pencils can be a ticket to the big time, guess what—when that goes away,
one will find one is not trained to do the other aspects of the work.
      Personally, I like doing comics the “one-man army” way. It keeps me from being too pigeon-
holed in one specialty. Being proficient in all aspects of comics production is a sure way of staying
in the business long after many others have gone.
     The Tools of the Trade
      Behind the enjoyment of doing comics, drawing and executing them is serious work. For ink-
ing, a stable environment is a must to enable you to get the most out of your performance.

     Here is a picture of my drawing table in my editor’s cubicle at AP.

                                    Arrayed before you are the tools of the trade.
                                    I use Zig and Micron pens almost exclusively now.
                              Keep those rulers handy nearby. I also like listening to
                              music when I draw—hence the radio—usually soft music
                              if I am drawing gentle curves. I only listen to fast music
                              when I am in a hurry.


                                    Are we ready to ink???
     Here we are at the beginning.
You will notice that my pencils are
rather rough and unfinished. This
is the by-product of inking my own




              As long as the artist un-
        derstands what he envisions
        for the outcome of the piece,
        the pencils need not be too
        tight. You may want to begin
        with more detailed pencils
        when you start off, though.
     The first business
we will attend to is the
face. I use a .005 pen
on the face, starting
with the eyes, nose and
mouth. The hair is done
with the same pen, then
I switch to a .03 for the
edge of the cheek all the
way down to the neck.

								
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