Figure 2. 

The problem I ran into quickly in this case was space, or the lack thereof. Since this is only an eight-page comic with one page comprising the cover, I really had only seven pages to tell this story, introduce the heroine, the thrilling conflict and the cliffhanger. Not a lot of space, especially when I need to get some nice action scenes in there as well as room for Danny to write exposition explaining some of the back story. After e-mailing back and forth with Danny, I decided to just cut to the chase and show an establishing shot to show where the action was happening and cut right to Heather already in the castle chamber and reaching for the mask.

Figure 3 shows the new rough for the splash page which was quickly drawn on a Post-it Note.

The final tight penciled page is shown on Figure 4. This, along with the final layout, is the most important part of the job. This is the visual foundation on which everything else will hang, and for me the most creative part of the job. Sure, penciling a nice figure or page and inking are always very creative as procedures themselves, but a poor beginning, bad layout and confusing storytelling will not be overcome by the best rendering. Comics are meant to be read as a narrative, not as a series of cool drawings next to each other.

Figure 3.

Inking
The most fun on any job after the layout, for me, is the inking stage. At this point it’s all smooth sailing. I covered a lot on inking in my article back in DRAW! #6. On the DRAW! DVD I also go into detail on pens and brushes and how I use them. The screen grabs here are from the DRAW! DVD chapter on inking. On the DVD you will be able to watch me ink a page of the Thief of Time comic from beginning to end.

I want to stress again that inking is drawing in ink. The ink drawing has to be as good as the pencil drawing. Despite the joke in the film Chasing Amy, inking is not tracing.

Before I ink a page, I often warm up by doodling with a pen or brush directly on sketch paper or in a sketch book. I may do this for a half hour or maybe even an hour if I’m having fun. Like a musician warming up with his instrument, my goal is the same: to get the juices flowing.

I usually start on a page by starting with some background inking, but sometimes if I am warmed up and ready to go, I pick up the pen and have at it and start with some figures. I generally do pen inking first then go back with a brush and heavy up a line or fill blacks. Sometimes I may ink almost everything with a brush if I feel it calls for it. Again, my approach is always open and interpretive.

My whole process is very organic and flexible and when I ink a page, first I look at it and decide where I’m going to use a brush versus using a pen. I think the brush is great for organic things like hair. I also love to ink using the Rotring Rapidoliners. They are disposable rapidographs which come in various widths. My favorite is the .35. I love inking with these and can get a great variety of line from them from practice.