NB! Japanese format. Reads RIGHT to LEFT

This is why they have those red divider ropes at museums. It’s not to protect the exhibit, it’s to stop stuff like this happening πŸ™‚

Part 10: Manga Inking

Thanks to this course I have been able to address some of my bad habits. For the longest time since I started cartooning, I have had a knack of falling into bad habits. One bad habit is to stick with in-efficient methods after only trying trying the alternatives one or twice.

One bad ha bit I had was to use only line-art pens whenever I was inking pages. The best method for comic/manga inking is to use a specialist inking nib-pen and a pot of india/china ink. This method brings out a better ‘black’ effect in the final image, and also results in neater ends of the lines. However, I have always been a bit sloppy in this method, and after fleeting attempts I usually gave it up.

Instead I stuck with Faber Castell PITT artist pens, which are quite flexible. However like many line-art pens, the ink comes out sort of ‘greyish’ and is often rubbed away whenever I remove the pencil work. Regardless, I was stuck in my rut and stuck with my line-art pens.

Nao re-introduced me to the idea of proper inking in manga.

All of Hello Tomorrow has been done with an inking nib-pen. This is the reason why a lot of the work is sloppier than my previous stuff. This was down to me be so inexperienced in this kind of inking. So much so that I was actually terrified to ruin my otherwise alright page-work with my horrendous inking. You might also remember back to the ‘Ask Aoife’ section section, which was also inked poorly. Beyond the fun experiment of giving you direct access to Aoife, ‘Ask Aoife’ was also my attempt to prime my abilites to ink before I committed to inking my course manga.

It’s very clear that I still have a lot of practice ahead of me, but thanks to Nao I have started to practice inking again. All new work in Back Office, Bata Neart and other projects are now inked with a nib-pen.

Next time: Being kind to the Reader