
I must show off...
I'm kind of wondering why everyone seems to assume inking with a brush is expensive. I can buy one of the brushes I use and a small thing of India ink for less than $10. It's actually cheaper than brush pens.
Hm, if people want to know more about my drawing technique, I'd be happy to go into more detail.
Hm, if people want to know more about my drawing technique, I'd be happy to go into more detail.
- Tom Flapwell
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Maybe because (1) it's not something we used much in school art classes and (2) it's very good for the job.I'm kind of wondering why everyone seems to assume inking with a brush is expensive.
See other much-maligned creatures in my webcomic: http://downscale.comicgenesis.com
Hm, Inking with a brush is hard work and not suited for people having problems concentrating or shaky hands.I'm kind of wondering why everyone seems to assume inking with a brush is expensive.

I wanna know some of your drawing techniques!Hm, if people want to know more about my drawing technique, I'd be happy to go into more detail.


- Steve the Pocket
- Posts:2271
- Joined:Wed May 19, 2004 10:04 pm
I took up inking with a brush for a while. I was pretty good at it, but the brush felt really awkward and I didn't really have the time to practice much. Plus there wasn't much motivation -- I wasn't planning on doing any comics that way anytime soon.
*shrugs* I'unno. I can get a pretty good brushlike line with my regular pens, in probably less time than it would take to brush it. Plus I like that the original isn't full of gray areas that might not scan right. My scanners hate me.
*shrugs* I'unno. I can get a pretty good brushlike line with my regular pens, in probably less time than it would take to brush it. Plus I like that the original isn't full of gray areas that might not scan right. My scanners hate me.
Was just thinking earlier today that I'd love to see how you sketch out an O&M strip, the process, the order of the lines. I imagine now you've done it so many times that drawing Ozy or Millie is almost as easy as writing your signature!Hm, if people want to know more about my drawing technique, I'd be happy to go into more detail.
"The whole problem with the world is that fools and fanatics are always so certain of themselves, but wiser people so full of doubts." <br>-- Bertrand Russell
I'll second Mista_B. Seeing a step-by-step on how you do a strip would be really cool. I'm especially interested in hearing about the tools of the trade. Just looking at how thin and straight some of these lines are-- it's really amazing!
Ever think about publishing a "How to Draw Ozy & Millie" book? I'd certainly buy one.
Ever think about publishing a "How to Draw Ozy & Millie" book? I'd certainly buy one.

-Virmir
Stories!
Stories!
- VenM2
- Posts:1767
- Joined:Fri Nov 10, 2006 11:20 pm
- Location:Savannah College of Art and Design. Not really, I just go there for school.
I somewhat gave up brush inking because in the end, the tip of my brush irreversibly curved in a certain directing and it made inking terribly difficult when moving in the opposite direction of the curve. Oh, I read that you use a size 1 dcsimpson, I believe I am most comfortable with a size 0.
(Yes, there is a size 0 brush. About half the size of my 1.)
Now that I think about it, I still have my bottle of ink and a few slices of bristol board. I could use some more drawing practice.
(Yes, there is a size 0 brush. About half the size of my 1.)
Now that I think about it, I still have my bottle of ink and a few slices of bristol board. I could use some more drawing practice.

Most awesome convincing to use brush-inking ever:
...it will always want to speak it's own language (like any tool), and that is the language of sexy curves and tapers, earthy wobbles and plush, feathery layerings of strokes. This is the stuff the brush most wants to do. The deeper you explore and amplify the weird language of the brush, the more control you will have over its awesome idiosyncracies.
I'm all about the earthy wobbles and feathery tapers.
...it will always want to speak it's own language (like any tool), and that is the language of sexy curves and tapers, earthy wobbles and plush, feathery layerings of strokes. This is the stuff the brush most wants to do. The deeper you explore and amplify the weird language of the brush, the more control you will have over its awesome idiosyncracies.
I'm all about the earthy wobbles and feathery tapers.
"The whole problem with the world is that fools and fanatics are always so certain of themselves, but wiser people so full of doubts." <br>-- Bertrand Russell
- Tabris_The_17th
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Put me down as someone interested in hearing about that as wellHm, if people want to know more about my drawing technique, I'd be happy to go into more detail.


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