Reply With QuoteHave you had the opportunity to check out the way Lary Stucker inked this issue, covie? I think you should check it out.
Another question. There are no hi-res versions of these pages on Byrne's site. Did you use hi-res versions of these pages?
Here's page 2, which I started today. I figured I'd do 5 pages from this.
Have you had the opportunity to check out the way Lary Stucker inked this issue, covie? I think you should check it out.
Another question. There are no hi-res versions of these pages on Byrne's site. Did you use hi-res versions of these pages?
Money can't buy you happiness, but it will pay for the search.
No on both questions. I'll actually see if I can find the finished pages for comparison. As far as the resolution goes, I didn't actually think it to be so important so long as the finished product is hi res. I upscaled these to 600 dpi since I knew I was going to be cleaning them up a bit. As far as I can tell, there's a little blur in the pencils layer, but all the information necessary for inking is there.Originally Posted by Popninja
I asked because in the first page you posted up, on the city background on the first panel, you chose to black out the city instead of adding all of the window detail that Byrne put in the pencils and Stucker included in the inks. So I wasn't sure if it was an oversight based on the low resolution or your own choice. Also, at a higher resolution, you would probably be able to see areas that weren't intended to be blacked out completely. I noticed in the published issue that Stucker went with lines in many areas that you chose to black out.
I'm just wondering if, in the case of a full hi-res page, the same decisions would be made. Inking is something I struggle with in my own work and makes me really nervous when dealing with others' work, so I'm always interested in the process.
Money can't buy you happiness, but it will pay for the search.
I think that has more to do with interpretive license than it does resolution. John Byrne has very scrubby (not shabby, mind you) motion in his work. He likes to use, from what I can tell, the flat side of a pencil to lay in darker areas. I take those as being solid blacks. Lary Stucker adds a wonderful texture to the piece in his rendering all the lines. I could be taking too many liberties, but I've been told in the past, and from reading "Stan Lee's How to Draw Comics" (which is apparently no longer the "Marvel Way") at the book store, that as an inker you have certain liberties. What must be maintained is quality and energy of the work. My goal is to say that I've done just that.
Also, I have a severe lack of self confidence. It shows in the instability of my strokes. So I try to avoid showing that off if I can.
Anyhoo, this is page 2. I'll be starting with page 3 tomorrow.
^
WOW, Covie! Great looking inks on this!
You should revisit the victim's left forearm. The rendering is a little all over the place compared the the original pencils. Also, your radiation lines on victims head and Hawkman could be cleaner.
Other than that, looks good man. Although, you really should do as Popninja says and do the research. Pop seems to have a better idea of what good inks look like over JB. It would work to your advantage to study JB's inkers.
I had to do a little bit of searching, but I finally found the issue these pages were in. Much studying will be done here soon.
I went back to the victim's left arm, I hope it looks better.
Here's the start of page 3, which is KILLING me. This page is the first time I've had a problem with a lack of resolution in the pencils.
Oh man, I love their expressions in panel one! great stuff!
So, having read the issue that these pages are from, I can see a LOT of differences in the inking. His inking is more consistent, which is something that I'm working on. But Stucker also affirms something for me that people like Lost and Ben Jones have said before, which is that as an inker you are more than just a tracer. He takes many more liberties with the work itself, but it adds to the feel with out losing the John Byrne. It enhances the art for the most part. I had a lot of fun actually taking these pages in and examining them. In the mean time, I guess I'll muddle on through my efforts at improving.
This should NOT have taken me so long, but real life kept poking its head up at me and made me stop what I was doing so I could deal with it. I've noticed that I have a hard time getting back into a piece once I've been knocked off my rhythm. Anyway, here's page 3. I'm working on 4.
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