Re: Encrage, Layouts, crayonnés..

[PipoEternel]

Une mine d'or pour les apprentis dessinateurs ! angelangel321

[fred le mallratAdmin-Man]

Miller encré par Janson sur la fin de leur run

[fred le mallratAdmin-Man]

Paul Smith et Terry Austin

[fred le mallratAdmin-Man]

Layouts: Liefield
Dessin: Mignola
Encrage: Wiacek




vous en voulez plus?
http://robliefeldcreations.com/mike-mignola-and-me/

[fred le mallratAdmin-Man]

>Here's a little art process on a Captain America page.
>Would that sort of things be of any interest to you in a skectchbook/artbook, with commentaries and stuff?

Paul Renaud sur Facebook

[fred le mallratAdmin-Man]

Source: Twitter de Pepe Larraz

[fred le mallratAdmin-Man]

Super Process

(From Superman Red &Blue No.3, out in MAY) Twitter de Michel Fiffe

[fred le mallratAdmin-Man]

Marc Hempel s'encre



R. Case encre Hempel

[fred le mallratAdmin-Man]

Extrait de la newsletter de Tom Brevoort

This is a copy of a penciled Neal Adams page from X-MEN #62. It’s a pretty typical Neal page for the era—hyper-realistic, loose in some places, tight in others. And dramatic as hell.

Here’s that same page inked by Tom Palmer. Anyplace where Neal was loose and unspecific, Palmer tightened things up, solidifying the drawing. Tom also chose to apply zip-a-tone to that close-up of Magneto’s face in the final panel, something that Adams hadn’t specified. (For those unfamiliar, in those pre-computer days, the way you would get grey tones in comic books was through the use to zip-a-tone, plastic sticky-backed transparent sheets with a dot pattern on them that would need to be cut out with an X-Acto knife and applied to the desired areas. Using zip would allow artists to increase the number of colors and tones they could get on a finished page.)

And here’s the page in the printed book. Tom Palmer also provided the coloring for this issue, which is a lot more sophisticated than much of what was being done in that discipline at the time—a lot of comic book was still being colored in what we call the “sky-blue-grass-green” approach to coloring. But here, Palmer uses subtle monochromes to heighten the drama of the images. It’s a more painterly way of thinking about a comic book page, and it was a way of thinking that began to spread throughout the industry. By coloring as well as inking the book, Palmer had a far greater degree of control over the final product than most people took at that time.

[fred le mallratAdmin-Man]

1982 Defenders sample pages 14 &15. These were the two pages that made Ann Nocenti decide to have Arthur Adams be the artist for Longshot.

[Contenu sponsorisé]