Tuesday, February 2, 2010

Inking and Comics University

There's a good post on the process of inking right now over at Comics University. In it, Jonas Diego, the inker, explains how he works and how inking fits into the creative process of putting together Lola: A Ghost Story. Here's a sample of what Diego has to say:

"With Elbert’s pencils I don’t go immediately to inks.

I spend some time figuring out the intent for a particular page via a script I was provided with. After that I spend some time with a blue Prismacolor pencil adding elements which I feel will help in the storytelling, setting up shadows to help create the mood and ambiance the scene needs, and correct some details in the art.

It is only after accomplishing this that I start inking over the blue lines."

Too often, I think we overlook the contributions of inkers, letterers, and colorists to the process of creating a narrative in comic form. Posts like this one are a good reminder of these kinds of important collaborations.


Jonas Diego said...

Thanks for posting this. :)

Anonymous said...

Too often comic book art is dismissed by the general public as pulp. A lack of appreciation is due in LARGE part to a lack of knowledge about the actual process that takes place. If I may use myself as an example, as an artist I would traditionally task myself with all the duties necessary in creating one work of art. So, I found it hard to believe AND understand that one person penciled, while another would ink, and yet another would colour.

But I'm creating ONE canvas(or panel.) Just one. In comparison, a comic book is 32-pages comprised of SEVERAL tiny canvases. So it's not hard to see why the process is divided, and I began to understand AND appreciate all the work that inkers and colourist were tasked with as part of the process.

I like to think of a comic book as a collection of COLLABORATIVE works of art. (There just happens to be a lot.. monthly!)