831:, if she intends to have it inked by her husband and collaborator, Jimmy Palmiotti, but will do the pencils "lighter and looser" if she intends to ink it herself, as she already knows how she wants the artwork rendered. Conner has created her own paper stock and blue line format on her drawing paper, because, she explains, she likes having those configurations pre-printed on the page, and feels that "sometimes the rough is too toothy and the smooth is too slick." The stock she uses is the 10 in × 15 in (250 mm × 380 mm) Strathmore 500 series, but she also orders a custom 8 in × 12 in (200 mm × 300 mm) stock because she sometimes finds those dimensions more comfortable and easier to work on more quickly. She also finds the Strathmore 300 series "pretty good" likes its nice texture and greater affordability, but says that must occasionally content with getting a "bleedy batch". Conner uses mechanical pencils with .03 lead because she found it easier to use than regular pencils that require her to stop and sharpen them frequently.
585:" at twice the printed comic size, and also drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he is not accustomed to. Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally.
1094:, though her process for that series is different from previous ones, for which she characterizes it as "one intense, ongoing experiment." She begins with thumbnails, roughly drawn on printed paper templates. During this stage Staples does not use reference, but does so later in the inking stage. During the thumbnail stage, she gives copious thought to the layouts and staging, making it, in her words, the most important part of the process. After scanning the thumbnails, she enlarges them and uses them as rudimentary pencils, and "inks" over them in
1140:," to assist the penciller in scene composition. If no breakdowns are included, then it falls to the penciller to determine the layout of each page, including the number of panels, their shapes and their positions. Even when these visual details are indicated by a script, a penciller may feel when drawing the scene that there is a different way of composing the scene, and may disregard the script, usually following consultation with the editor and/or writer.
736:, which he introduces after the rough stage. He chooses not to put too much time or polish into this stage, preferring to work quickly, lightly and instinctively. He uses a mechanical pencil with 0.9mm 2H lead at this stage for fine outlines and detail work, and a traditional pencil for more organic work, including softer lines, shading large areas and creating more fluid motion. The "best tool of all", according to him, is a traditional pencil cut with a
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selections with colored pens, continuing to attempt different variations. He will then, depending on how late in the day it is, either redraw the illustration on a sheet of layout paper or use his lightbox to tighten and clean up the drawing, emphasizing that the lightbox should not be a mere exercise in tracing, but an opportunity to refine or change elements in the drawing to make it "clean" enough to be inked.
652:, in part due to impatience, and in part because he enjoys the serendipitous nature in which artwork develops when produced with greater spontaneity. He also prefers to use reference only when rendering objects that require a degree of real-life accuracy, such as guns, vehicles, or characters of licensed properties that must resemble actors with whom they are closely identified, as when he illustrated the cover to
619:, which he uses for its softness and darkness, and for its ability to provide a "sketchy" feel, with a minimal amount of powdery lead smearing. He uses this lead because it strikes a balance between too hard, and therefore not dark enough on the page, and too soft, and therefore prone to smearing and crumbling. Campbell avoids its closest competitor because he finds it too waxy. Campbell has also used
1038:, completing details that the modeling programs cannot perfect, such as facial expressions, hair, filling in blacks, rendering clothes and wrinkles, etc. To finish the art, he will either print out the "pencils" directly onto Bristol board and finalize them with an HB Tombow pencil and ink them with a #2 nib, or will apply the finishes in Photoshop.
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will sometimes photograph his friends pose as the central characters, or use a full length mirror to draw himself. He renders minor characters from his imagination. Irrespective of how much sunlight he has on a given day, he prefers to use a 500W incandescent photo lamp, though he believes a 500W halogen lamp is also adequate. He prefers to use a
691:, which acts like a 4B in that environment. However, his website explains that he uses 6B lead, with some variation. For pieces rendered entirely in pencil, he employs a variety of pencil leads of varying degrees of hardness. After darkening in the construction lines that he wishes to keep, he erases the lighter ones with a
843:
obtains a script, he makes "tiny" thumbnail sketches of each page, and then makes layout sketches on shrunked copies of comic art board, two per page. It is at this stage that he works out the light/dark balance of the page. Though he says about 90% of his artwork are done without photo reference, he
805:
explains that he uses a
Staedtler Mars Lumograph 100 2H pencil, and a Staedtler Mars Plastic Eraser. However, on the site's Frequently Asked Questions page, he states that he uses a standard Dixon Ticonderoga #2 pencil with HB lead, explaining, "It's mushy as all hell but it doesn't slow me down like
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when he desires to do a "tighter" digital layout of an illustration. When sketching figures, he will sometimes use photographic reference, and incorporate the photos directly into his sketches during the process of finalizing a layout. Once he makes a final decision on a layout, he will then print it
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employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox, whereas he does convention drawings on 11 x 14 Strathmore bristol,
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says that he cannot work unless he is listening to music, which he does via stereo speakers placed above his drawing board, and an extensive music collection in his studio. Bianchi uses extensive photo reference and a lightbox to give his artwork a realistic look. He uses a wooden drawing board that
647:
lines printed on them. By 2000, he switched to
Crescent board for all his work, because it does not warp when wet, produces sharper illustrations, and are more suitable for framing because they lack the non-photo blue lines. Charest usually prefers not to employ preliminary sketching practices, such
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for shading, which he sharpens with a rotary lead pointer, believing that such leads can be sharpened better than a traditional pencil. He blows up a scan of each page layout to 8.5 in × 11 in (220 mm × 280 mm), and draws "tight" pencils on top of these, which are then
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Hitch is particular about his studio workspace, which does not contain a TV or sofa, stating that such things belong in the lounge for relaxation. Despite using a professional drawing board, he emphasizes that any inexpensive board large enough to hold the paper is sufficient, as he mostly uses a
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and F lead. He maintains sharpness of the lead with a Berol
Turquoise sharpener, changing them every four to six months, which he finds is the duration of their grinding ability. Campbell uses a combination of Magic Rub erasers, eraser sticks, and since he began to ink his work digitally, a Sakura
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does tiny thumbnail sketches with stick figures corresponding to the story indicated on each page, in order to help her design the page's layout. She then does tighter, more elaborate sketches, though still fairly small compared with the finished artwork, approximately 4 in × 6 in
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begins his pages with 7 in × 5 in (180 mm × 130 mm) ink thumbnail sketches with which he shows his overall ideas to his editor. When he begins the actual pencils, he keeps them "loose", because he will eventually ink over them himself, and does not require greater
727:
begins with multiple rough sketches employing different camera angles on paper with a blue pencil, which traditionally does not photocopy or scan, and then selects the desired elements from the rough sketch with a graphite pencil. After picking the initial shapes, he will further emphasize his
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light-blue pencil, because it is not too waxy, and erases easily. When working on the final illustration board, he does so on a large drawing board when in his basement studio, and a lapboard when sitting on his living room couch. After tracing the thumbnails, he will then clarify details with
1098:, and later colors the art in Photoshop. One of the advantages Staples sees in working digitally is the ability to dispense with tight pencils in favor of making corrections in an ad hoc manner, as she finds penciling in great detail and drawing such art a second time in ink to be boring.
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begins drawing thumbnail layouts from the script he is given, either at home or in a public place. The thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will then enlarge the thumbnails and trace them onto
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that he had not used traditional materials like
Bristol board, pens or brushes in years. After sketching layouts, which he says are "pretty tight", and include the full script, he scans them into an 18-inch tablet/monitor to use them as a guide for lettering them in
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was a noted penciler whose breakdowns included all the structural essentials that enabled inkers to complete the art. Other pencillers prefer to create detailed pages, where every nuance that they expect to see in the inked art is indicated. This is known as
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industry, the penciller is the first step in rendering the story in visual form, and may require several steps of feedback with the writer. These artists are concerned with layout (positions and vantages on scenes) to showcase steps in the plot.
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uses 300 series two-ply
Strathmore Bristol board. He does not use non-photo blue pencils or any other equipment purchased at specialty stores for preliminary sketching, but uses .9 mm mechanical pencils that he purchases from
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When Hitch transfers the drawing to the final art board, he does initial layouts with a 2H pencil, which he feels provides the necessary accuracy and detail, and uses an erasable blue pencil to mark panel frames and
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approach, in which the penciller does not take much care to reduce the vagaries of the pencil art, leaving it to the inker to interpret the penciller's intent. In those cases, the penciller is usually credited with
1290:
740:, which he says can produce a variety of marks, and be used for detail, shading and general sketching. Hitch believes the best results combine both the mechanical and the knife-sharpened traditional pencil.
1121:, produce complete, elaborate, and lengthy outlines of each page. Others send the artist only a plot outline consisting of no more than a short overview of key scenes with little or no dialogue.
679:, because he feels regular pencils get worn down to the nub too quickly. As he explained during a sketch demonstration at a comic book convention, during this process he uses a Sanford Turquoise
1026:, he arranges the angles and other aspects of the scene before rendering them, such as placement of background objects or modifying gestures, while the computer corrects elements such as
2005:
1004:. These allow him to take three-dimensional models and break them down into simplified two-tone line forms. He purchases the models from catalogues, or uses ones that he built for
699:, and to erase large areas, he uses a larger, hand-held white eraser, the Staedtler Mars plastic, which he calls a "thermonuclear eraser", because it "takes care of everything".
548:
worked out of a ten-foot-wide basement studio dubbed "The
Dungeon" by his family. When starting with a clean piece of Bristol board, he would first draw his panel lines with a
527:, preserving the original pencils. The artwork is later photographically reduced in size during the printing process. With the advent of digital illustration programs such as
481:. Beyond this basic description, however, different artists choose to use a wide variety of different tools. While many artists use traditional wood pencils, others prefer
1903:
905:
uses 14 x 17 Strathmore
Bristol board, which he cuts into 11 x 17 pieces on which to draw. He draws using a 2H pencil, and after inking his pencils with a
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paper because he feels that the surface of marker paper tends to get smudgy or oily. When importing art to modify in his computer, he uses
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out at full size, and use a light box to pencil it, sometimes altering elements in the design such as lighting or other details.
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683:, a soft lead, though when working at home in Atlanta, where the humid weather tends to dampen the paper, he sometimes uses a
1064:. After completing the lettering, he exports the files to Photoshop, where he fully renders the art at a resolution of 1,200
970:. He describes his pencils as "just awful", and inks them himself, as he cannot envision giving them to someone else to ink.
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surface rather than smooth paper, preferring smoother paper only for brush inking. He does preliminary undersketches with a
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mechanical pencil, completing two or three penciled pages a day, sometimes even inking all three by the end of the day.
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1053:. Although he sketches his layouts in pencil, the remainder of his work is done digitally, explaining in his 2006 book
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to the proper original comic art size, which is 10 inches x 15 inches. She then uses "very tight pencils" to
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begins with sketches much smaller than the actual size at which he will render the final drawing. He employs a Cintiq
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or drafting leads. Pencillers may use any lead hardness they wish, although many artists use a harder lead (like a
1034:, proportions, etc. After the files are rendered to Austen's satisfaction, he assembles them into page form using
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with other artists, who provide inks, colors and lettering in the book, under the supervision of an editor.
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specificity. The penciling stage is the fastest stage for Takara, who does all of his pencil work with an
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643:. He previously illustrated on regular illustration board provided by publishers, though he disliked the
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usually works directly over the penciller's pencil marks, though occasionally pages are inked on
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Artist who works in the creation of comic books, graphic novels, and similar visual art forms
1419:. The Official Unofficial Travis Charest Gallery. December 1, 2000; Accessed August 30, 2010
493:) for finishing phases of the drawing. Still other artists do their initial layouts using a
1300:. Word Balloon Comic Books Podcast. Retrieved January 3, 2014. Interview begins at 1:19:55.
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The
Official Unofficial Travis Charest Gallery. December 1, 2000. Accessed August 30, 2010
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The
Official Unofficial Travis Charest Gallery. December 1, 2000. Accessed August 30, 2010
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597:
8:
2006:"True Tales Of Appreciation And Condemnation Of INKERS Behind The Lines Of Marvel Comics"
1844:"Making Comics: How writers can foster stronger and healthier relationships with artists"
1291:"Word Balloon Podcast Greg Pak, Cincy Comicon Panels with Art Adams and Ethan Van Sciver"
628:. He often sharpens the eraser to a cornered edge in order to render fine detailed work.
465:
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1330:"Reinventing the pencil: 21 artists who changed mainstream comics (for better or worse)"
489:) to make light lines for initial sketches, then turn to a slightly softer lead (like a
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1210:
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531:, more and more artwork is produced digitally, either in part or entirely (see below).
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he used to draw on flat, but angled it due to back pain that he began having in 2006.
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scanned and printed on 11 in × 17 in (280 mm × 430 mm)
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before rendering greater detail. For more detailed erasures, he uses a pencil-shaped
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Most US comic book pages are drawn oversized on large sheets of paper, usually
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was known to prefer this latter form, and thus it came to be known as the
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entirely on a computer. He prefers uses mostly
Macintoshes, but also uses
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produces his artwork on Strathmore 300 Series Bristol Pad, which has a
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on copy paper, before transferring it with brushed ink via a lightbox.
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1958:"How a Marvel Editor and a Painter Collaborate on a Blockbuster Comic"
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Comic book scripts can take a variety of forms. Some writers, such as
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1904:"Comics Artists, Writers, Colourists, Editors, Marketers – JobWatch"
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A comic book penciller usually works closely with the comic book's
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Another artist who does her work almost entirely digitally is
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1206:"Carmine Infantino, Reviver of Batman and Flash, Dies at 87"
1671:. Gene Ha - Comic Book Artist. Retrieved November 17, 2011.
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another light-blue pencil, and finalize the details with a
511:. The customary size of comic book pages in the mainstream
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On the Biography & Bibliography page of his website,
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1509:"The Making of the Cover for 'Amazing Spider-Man' #593"
1443:"Adam Hughes - Anatomy of a sketch, Pt2 - The Process"
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1639:
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Another artist who listens to music while working is
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uses mainly 2H lead to avoid smearing, and sometimes
1465:"Adam Hughes - Anatomy of a sketch, Pt3 - The Tools"
1777:"Chris Samnee: The Devil is in the Details, Part 1"
1765:"Chris Samnee: The Devil is in the Details, Part 2"
1483:. YouTube. May 15, 2006. Accessed September 8, 2010
1481:"Adam Hughes - Anatomy of a sketch, Pt1 - The Idea"
1467:. YouTube. May 15, 2006; Accessed September 8, 2010
1636:
1523:, Comic Book Resources, accessed January 10, 2011.
949:. For erasure, he uses both a Vanish eraser and a
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1625:
1623:
1132:Sometimes a writer or another artist (such as an
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1996:
1994:
768:In contrast to Hitch's work environment, artist
707:Artist and former Marvel Comics editor-in-chief
655:Star Trek: The Next Generation: Embrace the Wolf
2000:
1790:"Austen in the Machine: Chuck Austen Interview"
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500:because that color tends to disappear during
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1581:"Erik Larsen - Biography & Bibliography"
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941:surface. To pencil his artwork, Cho uses a
814:While reading each page of a script, artist
748:leaning on the edge of his desk. He uses an
449:) is an artist who works on the creation of
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1495:. Just Say AH! Retrieved November 11, 2011.
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1767:. Toucan: The Official Blog. June 7, 2013.
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1633:, 2010, Rockport Publishers, pp, 34 and 35
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1449:. May 15, 2006. Accessed September 8, 2010
1276:George Khoury and Eric Nolen-Weathington.
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1049:also does his work almost entirely on a
671:as he prefers penciling on the rougher,
515:comics industry is 11 by 17 inches. The
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1430:FAQ: "Do I use any type of references?"
1278:Modern Masters Volume Six: Arthur Adams
581:. He drew the first three chapters of "
14:
2033:
1812:
1770:
1136:) will include basic layouts, called "
472:
1746:from the original on January 10, 2023
1555:"Studio Tours: Artist Simone Bianchi"
1511:. Comic Book Resources. June 12, 2009
1322:
1289:Siuntres, John (September 11, 2013).
1253:
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535:Notable creators and their techniques
1570:. Image Comics. October 2012. p. 27.
1566:"The Third Degree: Marc Silvestri".
1542:Bryan Hitch's Ultimate Comics Studio
1110:, who commissions a script from the
603:
1694:Interview with the Luna Brothers at
1682:Empire State: A Love Story (Or not)
1553:Weiland, Jonah (January 10, 2007).
887:Empire State: A Love Story (Or Not)
24:
1876:. M<arkWaid.com. Archived from
1874:"THE JOB OF THE COMIC BOOK EDITOR"
1788:Giles, Keith (September 6, 2011).
1629:Salavetz, Judith; Drate, Spencer.
1594:.com. Retrieved February 20, 2011.
1225:"Comic Book Legends Revealed #190"
1223:Cronin, Brian (January 15, 2009).
1018:. After importing the models into
789:while working, in contrast to the
666:The penciling process that artist
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1960:. Artists Network. Archived from
1240:Kirby, Neal. "Growing Up Kirby".
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760:to modify his artwork digitally.
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1684:Abrams Comicarts; New York: 2011
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544:From 1949 until his retirement,
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1988:#52 (Marvel Comics, June 1979).
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1842:O'Keefe, Matt (July 25, 2019).
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1714:The Incredibles: Family Matters
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1404:FAQ: "What materials do I use?"
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1114:and sends it to the penciller.
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1280:, 2006, TwoMorrows Publishing.
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793:he listens to at other times.
785:, who says that he listens to
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13:
1:
1826:). "Fiona's Process"
1717:trade paperback. (July 2009)
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945:mechanical pencil with 0.7mm
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163:Comics by country and culture
1822:), Staples, Fiona (
1779:. Toucan Blog. May 31, 2013.
1606:"Frequently Asked Questions"
992:. When using a Mac, he uses
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1846:. The Beat. Archived from
1379:"Drawing Supplies Erasers"
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648:as layouts, thumbnails or
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1807:William Morrow Paperbacks
1521:"Cup O' Doodles" Archives
1417:FAQ: "Working techniques"
1261:"The Art of Arthur Adams"
806:a harder pencil would."
615:, and Sanford Turquoise
523:paper, such as drafting
2046:Visual arts occupations
1801:McCloud, Scott (2006),
1792:. Comic Book Resources.
1557:. Comic Book Resources.
611:does his pencil with a
1267:#17, November 15, 2001
787:down-tempo chill music
1982:"Bullpen Bulletins",
1937:Kirby: King of Comics
1872:(February 12, 2009).
1818:Staples, Fiona (
744:piece of roughly cut
600:for his pencil work.
570:non-photo blue pencil
477:A penciller works in
1964:on December 22, 2021
1734:(January 10, 2023).
1646:Creator-Owned Heroes
1544:, Impact Books, 2010
1354:Campbell, J. Scott.
1229:Comic Book Resources
572:, sometimes using a
328:South African comics
1377:Campbell, J. Scot.
1314:"Artist's Comments"
1143:Some artists use a
852:for sketching, and
473:Tools and materials
466:American comic book
32:
2041:Comics terminology
1943:, New York, 2008).
1667:2013-12-15 at the
1608:. SavageDragon.com
1586:2011-05-26 at the
1310:Campbell, J. Scott
1296:2014-01-03 at the
1211:The New York Times
1102:Workflow and style
752:desktop computer,
566:illustration board
483:mechanical pencils
30:
2016:on April 15, 2021
1985:Marvel Two-in-One
1880:on April 19, 2021
1428:Charest, Travis.
1415:Charest, Travis.
1265:Comic Book Artist
1263:, Reprinted from
1247:Los Angeles Times
1204:(April 5, 2013).
1076:page, if needed.
1062:Adobe Illustrator
609:J. Scott Campbell
604:J. Scott Campbell
439:
438:
405:Comics portal
348:Vietnamese comics
318:Portuguese comics
308:Philippine comics
289:
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204:Australian comics
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144:Political cartoon
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2012:. Archived from
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1479:Coulson, Steve.
1477:
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1463:Coulson, Steve.
1461:
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1441:Coulson, Steve.
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1145:loose pencilling
1015:Animation:Master
995:Ray Dream Studio
982:did his work on
791:alternative rock
734:vanishing points
596:is known to use
431:
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303:Pakistani comics
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2051:Comics creators
2031:
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2019:
2017:
2002:Wright, Gregory
1999:
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1981:
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1956:(7 June 2018).
1951:
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1941:Harry N. Abrams
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1669:Wayback Machine
1660:
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1652:. October 2012.
1644:
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1598:
1588:Wayback Machine
1578:
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1568:Point of Impact
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1336:. July 20, 2009
1328:
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1298:Wayback Machine
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1250:. pp 22 and 24.
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579:Number 2 pencil
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246:European comics
231:Croatian comics
226:Canadian comics
183:Bande dessinées
172:American comics
134:Trade paperback
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11:
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2010:Inkwell Awards
1990:
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1900:Johnston, Rich
1891:
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1703:; May 13, 2010
1697:Midtown Comics
1686:
1680:Shiga, Jason.
1673:
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1604:Larsen, Erik.
1596:
1579:Larsen, Erik.
1572:
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1158:Gregory Wright
1103:
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978:Writer/artist
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889:with a yellow
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783:Marc Silvestri
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777:Marc Silvestri
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770:Simone Bianchi
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764:Simone Bianchi
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637:Travis Charest
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632:Travis Charest
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1080:Fiona Staples
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1042:Scott McCloud
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897:Jonathan Luna
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865:. He prefers
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2020:December 22,
2018:. Retrieved
2014:the original
1983:
1978:
1968:December 22,
1966:. Retrieved
1962:the original
1948:
1936:
1928:
1918:December 22,
1916:. Retrieved
1912:the original
1894:
1884:December 22,
1882:. Retrieved
1878:the original
1864:
1854:December 22,
1852:. Retrieved
1848:the original
1837:
1827:
1814:
1809:. pp 196-197
1802:
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1772:
1760:
1748:. Retrieved
1726:
1712:
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1689:
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1676:
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1650:Image Comics
1645:
1630:
1610:. Retrieved
1599:
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1562:
1549:
1541:
1538:Hitch, Bryan
1516:
1505:Quesada, Joe
1500:
1488:
1437:
1424:
1411:
1395:
1385:February 13,
1383:. Retrieved
1381:. DeviantArt
1372:
1362:February 13,
1360:. Retrieved
1358:. DeviantArt
1349:
1338:. Retrieved
1324:
1305:
1285:
1277:
1272:
1264:
1255:
1245:
1242:Hero Complex
1241:
1236:
1219:
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1197:
1166:
1162:John Buscema
1153:
1149:
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1134:art director
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1096:Manga Studio
1089:
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1013:
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1005:
999:
993:
983:
980:Chuck Austen
977:
974:Chuck Austen
963:Chris Samnee
960:
957:Chris Samnee
933:
916:
900:
891:No. 2 pencil
886:
880:
859:inkjet paper
839:Once artist
838:
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767:
742:
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723:
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697:white eraser
665:
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607:
592:
583:Jonni Future
561:Arthur Adams
559:
556:Arthur Adams
543:
506:
502:photocopying
476:
463:
446:
442:
440:
266:Irish comics
241:Dutch comics
236:Czech comics
181:
98:Photo comics
1750:January 10,
1662:"Questions"
1028:perspective
883:Jason Shiga
877:Jason Shiga
846:lead holder
821:photocopier
803:Erik Larsen
797:Erik Larsen
738:craft knife
725:Bryan Hitch
720:Bryan Hitch
709:Joe Quesada
703:Joe Quesada
677:lead holder
668:Adam Hughes
662:Adam Hughes
650:lightboxing
613:lead holder
574:Prismacolor
521:translucent
451:comic books
369:Cartoonists
338:Thai comics
129:Gag cartoon
119:Comic strip
2035:Categories
1870:Waid, Mark
1732:Cho, Frank
1340:2009-11-25
1318:DeviantArt
1190:References
1150:breakdowns
1138:breakdowns
1119:Alan Moore
907:Micron pen
750:Apple iMac
746:chip-board
546:Jack Kirby
540:Jack Kirby
495:light-blue
379:Publishers
374:Collecting
114:Comic book
93:Cartooning
1740:Instagram
1612:April 25,
1356:"Pencils"
1074:greyscale
1072:, plus a
1036:Photoshop
1008:using in
935:Frank Cho
930:Frank Cho
871:Photoshop
863:blue line
861:in faint
825:light-box
758:Photoshop
658:in 2000.
529:Photoshop
443:penciller
356:Community
286:Hong Kong
67:Education
31:Penciller
18:Pencilers
1744:Archived
1665:Archived
1584:Archived
1312:(2008).
1294:Archived
1184:Colorist
1179:Letterer
1173:See also
1123:Stan Lee
827:it onto
550:T-square
513:American
447:penciler
149:Webcomic
72:Glossary
1701:YouTube
1447:YouTube
1154:layouts
985:Elektra
961:Artist
947:HB lead
917:Artist
901:Artist
881:Artist
854:2B lead
841:Gene Ha
835:Gene Ha
689:2B lead
681:4B lead
641:HB lead
621:HB lead
594:Jim Lee
589:Jim Lee
568:with a
464:In the
389:Writers
189:Belgium
154:Webtoon
85:Methods
77:History
1152:" or "
1112:writer
1108:editor
1070:bitmap
1020:Studio
1006:Strips
968:Target
943:Pentel
939:vellum
924:HB 0.5
850:H lead
685:B lead
673:vellum
617:H lead
598:F lead
525:vellum
479:pencil
364:Awards
293:Manhwa
281:Manhua
197:Quebec
193:France
37:Comics
1493:"FAQ"
867:Xerox
848:with
517:inker
384:Sales
276:Manga
2022:2021
1970:2021
1920:2021
1886:2021
1856:2021
1829:Saga
1752:2023
1614:2017
1387:2011
1364:2011
1091:Saga
1010:Hash
756:and
445:(or
1648:#5
1066:dpi
1024:Max
1022:or
1012:or
990:PCs
687:or
2037::
2008:.
1993:^
1935:.
1906:.
1805:.
1742:.
1738:.
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1638:^
1622:^
1590:.
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1169:.
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491:HB
487:2H
453:,
441:A
2024:.
1972:.
1939:(
1922:.
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1820:w
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1148:"
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187:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.