#allison tutorials

Hey thank you so much~!! and yeah definitely I can understand that!

Nibs are very sensitive to your fingers. With inking in general it’s important to use your forearm as a pivot point, but definitely with nibs it’s important to make the line with the wrist, not the hand. Does this make sense haha? Kinda hard to explain, but….hm…

Like, with speedlines and longer strokes you naturally try to get a smoother line by holding your hand steady and moving from the elbow, right?

With normal lines it’s the same thing, but with your wrist as the pivot point. It takes some time to get the hang of, but I guess the important thing is that when inking, you shouldn’t be moving your fingers at all. This creates that wobble! You can actually see some of that wobble here where I messed up:

See that vertical line area on the table the spoon is pointing to? I was rushing to finish it up, and that’s what happened. It actually really bothers me now that I look at it..and normally I’d have redone that…but…like….whatever………. ANYWAY yeah, that’s from using your fingers instead of your wrist!

Literally just going to copy and paste this from an email to onea my besties Operarox hope they don't mind but sharing learning things is always nice~<3

❀ ‣ As for making a comic from the short story -- do you mean that an artist will accept prose instead of a script and work from that? ❀ ‣ What do you mean by "the gutters of the comic are a beat too"? ❀ ‣ P.S. What did you mean by "one establishing per page"? ❀ ‣ Page Rate?

I think what I mean is that in the short story the beats seem clearer than what you wrote into the script, but I wouldn't say just give someone prose and attempt to make it into a comic. Figure out the main beats of your story and have each of those as a page or two, see where it needs to breathe or speed up. I talk about pacing panels more in this next paragraph haha...but I think the main thing is not to try and force every little description into it?

An establishing shot is a larger panel that establishes a scene. The first page and most of them in issue 4 you can see here is a pretty good example of it. General rule is have one of these, and a close up maybe per page but other than that it should be spread out. You can actually see this rule being true on all these pages and you probably didn't realize it!

A gutter is what the white space between panels is called. Something is happening in that beat from one panel to the next. For example, if there's a character sitting, then next panel he's standing up next to the chair, you can assume he has gotten up in between panels. Understanding this is key in setting up a good pace. It's especially important to understand in a comedic story but it stands for any style really. Scott McCloud has a whole book on comic theory called 'Making Comics' and you can find some panels if you google his name. Everyone I know owns it but I haven't read all of it because personally I hate such a clinical way of interpreting comics, but it's good to know about that stuff. Understanding Comics is a good one too by Jessica Abel and Matt Madden, I actually prefer that one. Check out some of the previews up on CBR of different comics to see how things are set up in different stories! Hawkeye is VERY good with pacing, and so is Saga. Actually, read the first few pages from this preview of issue 12, no real spoilers here (nsfw tho) but it does a REALLY good job of introducing this nurse character and making you FEEL for her in only 4 pages, it's incredible but it's little things like that. It's fast paced, but when he wakes up it suddenly feels very slow and heavy.

Yup 85 per is a somewhat decent rate and is what I usually get for my pro work, but in the industry as a whole it's very low. For a freelance writer you can probably charge 60 and that'd be good? Again, the fact that you want to pay is a good thing haha.

Pacing is super hard to get down! I think you can do it though, it's just seeing what you want to emphasize about your story and giving that the most punch! Get Saga on your order list AND OH GOD HIDE IT FROM YOUR PARENTS if that preview is any indication yeah that's what it's all like, but there's no better comic out there. Maybe Hawkeye, it's another good study!

Good luck, luv ya!

Realizing Your Conception ➥ Deciding what type of compositions to use and how to begin blocking out an image.

I have been asked a similar question on how to begin conception for a city scene, and you can read my answer here, but I figured I'd do a proper tutorial for this.

So! I think the general feeling here is about the thumbnail process, figuring out composition, and deciding what to do for the image you want to convey, right? okay.

❀ Thumbnails.

I don't usually post my thumbnails because they're pretty illegible most of the time, but there is this one image I've been working on since May '09 that I can use that's kind of more clear for this stage. One of these days I'll finish it, I swear. lol here is my page of scribbles:

progress on it! I can't believe I've been picking at this for nearly 3 years, I really do need to finish it...haha...XD;;

The main thing about this image that I wanted to convey is the feeling of running. All throughout the beginning while thumbing it out I thought...what can convey this motion I feel while I play Okami? Circles. Kind of like how a vortex sucks you in...that's what I was thinking about, anyway.

❀ Other examples of a different type of planning.

I'm pretty visual so I can 'thumbnail' in my head very clearly...that takes just as much time as drawing your idea out though! If you're going to try this I especially recommend a quiet room, close your eyes, and concentrate for a while. Be sure. However only use this method if you are VERY CLEAR about what you want to do. I can't properly explain what happens in my mind..um...I'll try to show you?

➛ I wanted to show these for another way of 'thumbnailing' in thinking about color in the very beginning of your process. Color is just as valuable as any other element in an image.

The Korra image was pretty basic, it was just a promo image for a convention so there wasn't anything too complicated about it. As straightforward as it was, motion and flow is still my main thought throughout.

This one is a bit more about motion and feeling:

Again with these I knew basically what I wanted from the beginning and the sketch is done in around a minute or so. It depends on the image and how strong the concept is for me...more often than not I'll do multiple thumbnails though.

➛ Normally I would say to do about 5 thumbnails and pick the most appealing one. In time you will figure out what is comfortable for you. Usually you want to concentrate on basic elements and work from there.

☆ On Composition: There are many tutorials out there about composing lines and circles. I can't remember the name of this amazing children's book David Soman showed me...if anyone knows the name of it please let me know. But yeah, it's about managing dynamics of relationships with other elements in an image and how to play on them. It's all about different ways of managing Size, Shape, and Balance to make them work for you. Don't be afraid to play.

❀ Blocking out Shapes of your Elements in an Image

I'm going to show something from Donato Giancola's Character Design class I took:

These irk me now they're so old and weird haha but the concept is there. I have SO MANY progress shots of this horrid thing it's ridiculous, so many different designs were made. But I think that's the thing...it all starts off as just blobs and silhouette. He actually kept scolding me for being too detailed here...now I can see how right he was, I wish I was more clear! It is really hard to do this and break down a design and make it the best it can be, but practice practice practice!

➛ VALUE is just as important in the planning stage as anything else. Do not neglect it!

☆ Remember that everything takes time. You will get frustrated. It won't be perfect right away. This is HARD. You WILL improve. Don't give up.

I don't know what more I can say on this...make sure you're clear about what you want to convey with your MOVEMENT, VALUE, COLOR, and COMPOSITION.

Thank you for your question, I hope this helped! I'm always open to any of your questions and requests! :)

On Twitter Misty asked "wondering where you start when planning a city scene" and I answered "same as any other image, by blocking out the main elements and shapes." but I decided to just go and block out kind of what I had in mind with how I start since I wanted to do it anyway. I think I'm going to do a proper tut of this later, but I wanted to answer a little more.

Similar to my Akira rough, it just starts out as simple blocks for the composition I have in mind, and then adding on more detail. An image always starts out with your mind though!

How I approach a city specifically...buildings are like people, or any other element to an image. They have character and personality, but in many ways they're more flexible because they don't rely on any set groundwork, which is why I LOVE drawing unique backgrounds. (unless you're drawing something based on reality, but this still remains that you have more flexibility with elements in an image like foliage and scaffolding and blocks of crowds or what have you, than with people who have a set anatomy.)

When doing something very background-heavy it just means that you're not allowed to ignore it, and that you have to treat it as an equal partner. Value is important especially, because that is what will hold your image together in the end. When adding detail make sure that the detail is always in favor of your main subject. (i.e. having scaffolding, skyline, and bridges pointing to Cygnus and where he's sitting) Look at real life and see everything that exists around you, there is SO much to play with it's insane. Be creative! A city is more than just rods and windows, it is vehicles, signs, people, and life! :D

Thank you, I love plants! While a lot of it is observing and using plants as blocking tools to help your image, I do have some artists you can look at.

Burne Hogarth drew the old Tarzan, and his plants are incredible, he's a huge inspiration for me in general.

Frank Frazetta's inkwork is beautiful, you can see how he used ink in his plants to render space and depth to some of his Conan pinups.

A completely different flavor is Der-Shing Helmer who draws The Meek. the backgrounds and way they render plants is really great to study how and when to use detail and use the plants as a tool to help your composition.

Inking Part 3 - Making Marks

➥Table of Contents - Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 -

Making Marks is essentially what Inking is. You are marking the paper (or screen haha), no matter what media you are working in. There is energy in each stroke you make, and being able to understand that energy is what will make your lines breathe with life.

The above image is one where I used some different techniques…nib, brush, bamboo brush, and Hake brush. The Hake was how most of the energy was put into the piece but it is really about how everything works together.

Now how am I supposed to explain the process of actually making a mark? This is so hard for me, but I will try my best. It is all in practice, but I'm sure that goes without saying. Hopefully. :p

❀ Hake & Bamboo Texture

Some templates I use if I need the texture digitally. Everyone should have some sort of texture library of their own. It's really easy to do and saves a bunch of time in the future!

I created a few brushes from the Sumi splatters, which you may or may not have noticed appearing everywhere in my work, usually for a quick background. :p Anyway it's all about pressure and the amount of ink on the tools for this kind of work. When using Hake it should be dry and strong. Be confident, and it will transmit.

❀ Nib & Brush

I'm sure there are millions of inking tutorials that go into the mechanics of using these, but I'm trying to be somewhat different here. Practice, have a test paper next to you before you make a stroke on the piece, keep a light hand, and practice. Ink through your elbow and whole arm not just your fingers and wrist, use everything to achieve a smoother flow. Your hand should be moving and gliding along with your tool.

➛ Really the most important thing to keep in mind is that it's all about understanding weight.

❀ Smooth Brush Line, Different Textures, One Subject

Blankets! I looove inking blankets. I have lots of ways I ink different types of blankets. Here are 4. Or 5? Bonus pillows. :p

Anyway the point of this is much of what I talked about in the last part: feeling what you are drawing. The difference a short dotted jagged line of a comforter makes when compared to the smoother elegant line of a sheet or the ruffle of a duvet. I hope this is a somewhat clear example of the kind of thing I'm talking about. :)

❀ To Be Literal or Figurative?

Inking isn't tracing your sketch, but just how far can you take a simple brush stroke? Other than bedsheets, Plants are a favorite inking subject of mine, especially ferns. A stroke can say so much yet be so simple. Think of different ways you can convey an object. Experiment pushing the norms and discover your personal voice. Combine figurative and representational, hard and soft. The possibilities are endless, and hey, you might like the result. ;)

❀ An example of creating a unique texture:

For this panel I had to figure out...how am I going to make something look like a gross, yet tangible, unstable muddy mess? It is all in the subtle way you move your tool, I think. How is something portrayed as...squicky? What do you see when you picture what you want to convey? What do you feel? There are strong shadows and texture is there, but the lines are shaking and dotted. The brush marks were slowly built up where it gets dense, but further apart and unstable where the 'mud' is unstable. The technique here IS the thing.

❀ Putting It Together

From a life drawing session. I think this is the clearest example I have of using everything and where to use it and how they work with each other. A clean simple brush where the light is softest, and I used nib on her flesh because...well, look at her. She is hard yet fragile, smooth but strong, just like a nib. And bamboo for texture of the stand and to really feel the weight under her on the pillows, dragging and molding them.

➛ I can't tell you what to do or if how I work is how you will work. It has to be a discovery you make yourself. Every scenario is different and will help you grow.

❀ I hope this part is helpful. It is hard for me to explain the 'mechanics' of something, as it's...just a complete polar opposite of how I work. I simply never think about it, so it's just difficult. I did my best and I hope the examples are at least useful in understanding how to do this a little bit?

➛ If you have any questions please don't hesitate to Ask me! <3

Now enough of this Traditional talk, we all know everyone does things with help from digital means nowadays. The next part will begin to ease into it! :)

On to Part 4: Understanding Your Final Image: How to plan your workflow and use digital means to work alongside your image!

oooh dear...it's...okay. how do I explain this...I mean my inking tutorial was going to go into this more in depth but...ok.

I just scan in the lineart, adjust with levels, clean up...make sure it's mostly complete black and white, and then go into the channels palette and click on the dotted circle:

then hit DELETE. Go back to your layers, lock the layer, and use a big brush to fill in with a dark color.

This will eliminate the jpeg artifacts and give a bolder line. Click a new layer under the lineart layer and start coloring. Simple as that.

This is also helpful in easy coloring of lineart. My lines always have a color to them.