Here's a pencilled panel from The Deadlander. I think this one's ready to ink, although I always clear up and darken a few things before touching a fully pencilled panel with the black stuff. Ink is so striking that sometimes the first three brush strokes can make the rest of the pencils practically invisible. Sometimes I will make a high contrast copy of the pencils that are as dark as the black ink, so during the process I still have a reference I can read as to what is actually under the ink.
On the narrative front, It's always a challenge to draw a "talking scene" interestingly. Although whether the moment is highly charged or a subtle contemplative stasis, my method is identical. To me it's all about conveying emotions with gestural form, the control of tensions, and getting the drama between characters to read graphically.
Here, The Deadlander is on "death watch" for his friend the Shaman, as the Shaman tries to recover from a gunshot wound. They talk and for the first time the usually laconic Deadlander begins opening up about how he had come to be in this wretched undead state. I was trying to capture in his attitude, both the Deadlander's reluctance to talk, but also his resignation.
UPDATE: Okay, I've got an inking on this one. Since this panel will be printed at about 2" x 2", the inking if fine. The values I insert when I color it will have to pick up the slack.
In comparison, I am very sad I made the decision during the inking to simplify the Deadlander's vest. Glad I scanned it in. Wish I had scanned it at high rez.
Well at least there's a recording of a nice bit of drawing that once was.
Last edited by kev ferrara; August 2nd, 2007 at 08:58 PM.
Kev seeing your works makes me determined to become more disciplined and increase my level of skill. Also, each time I read one of your critiques of another persons work, I see that you are someone who speaks wise words. I'm going to study Bridgman and commit his books to memory as you said you have done. Keep up the good work, man.