Blue Moon Blog

My buddy, Cedric Hohnstadt wrote recently about inking, so I thought I’d pile on and add some thoughts.

Generally, I’m a fan of whatever works for an artist’s specific task. I’ve used pen & ink nibs, a variety of brushes, markers, technical pens, grease pencils, a toothbrush; anything what best gets me the effect desired. But for all of that, a good synthetic brush has been tops for me since I finally took the leap in 1986.

Before then, I was afraid of the brush, as when I’d used it I found it difficult to control with thick and clunky results. So, I kept avoiding the brush and went back to my trusty Hunt 102 nib.

I’d used that nib for years as I liked the detail and level and command, and I stuck with it when I discovered one of my favorite comic book artists, Walt Simonson used it. I was astounded to hear that from him at a comic shop appearance, but saw his original art with my own eyes that he’d get lines as thick as 1/8″ or more! He’d work it and press and stretch that sucker out then load it up for some real expressive lines, and I was convinced to stick with the tool.

But after inking a few issues of my self published black and white comic book, Trollords, I found myself looking for more simplicity and speed in and with my art, so I finally just jumped in with the brush as of issue #4. I cringe to look at some of the art now, but some of it holds up. I learned on the job, ’cause you gotta start somewhere. Instead of a sable, I picked up a Pentel Color Brush and dipped it in the ol’ Pelikan ink. I could cap that brush after each use, which meant I could not only take it with me on the road or to do sketches at conventions, but also save time not having to clean the brush. I was surprised to learn many other comic book artists swore by the very same brush, each using it in their own unique way.

Recently, it became even more difficult, if not impossible to find the Pentel brushes, so I switched to another recommended by artist friend, Terry Beatty, the Niji Waterbrush (medium). I get a thick line with it, especially when fully loaded with ink, but I like a bold, graphic look, and to compensate work larger. Best, one can load Rapidograph ink onto the brush or into the shaft, so drawing becomes a more fluid process never having to stop to dip.

For me, inking with a brush is far superior and preferable as one can work more fluently and quickly, laying down in a single stroke a smooth line, varying from thin to thick, as desired. I find the brush a more expressive and efficient tool. I’d run into many artists using markers or technical pens, working over and thickening lines, all to laboriously mimic a brush look. Why not just pick up the brush? It’s scary (I recall, trust me), but one will save time in the end and achieve a better look. I prefer the synthetic brush to a sable not only for the non-dipping and cleaning advantages, but also because the brush at its base is thicker, therefore holds more ink. One can achieve a thicker line in one stroke if necessary. The traditional sable brushes seem somehow flimsy to me.

In regards to paper, for a clean, slick look I use on smooth bristol board, and for a more rugged look a rough surface bristol produces a great effect.

Given I’ve put in so many years inking with a brush, I’ll always use it, but with digital tablets such as the Wacom Cintiq becoming more prevalent, I wonder for many if it’s a moot point? Many comic book and other artists are now darkening scanned pencils, cleaning it up and coloring for the final art skipping the inking step entirely. Others are going straight to digital. My Cintiq will arrive any day now, and I can’t wait to dive in. But I’m guessing I’ll use it for certain projects, or for coloring, and will still begin many pieces the old-fashioned way on my drawing board. Perhaps this will end up being a transition period, but I won’t completely give it up. I’d miss the tactile and immediate sense of drawing on paper.

For sketching in ink I prefer a Penstix 0.7mm, which provides a thick (but not too thick) line. A thicker line forces one to make choices while drawing and keep things simple. To fill in larger black areas, Letraset’s TRIA is a great tool. I also use the Tria for storyboard work, to beef up pencils. It has three nibs: bullet point, brush and chizel.

I’ve another couple posts in the works about pencils and erasers for sketching, and outlining my storyboard process.

Inkers Away!