This blue line version will now be printed out on a specialty board I buy that I used specifically for inking works.

With Elbert’s pencils I don’t go immediately to inks.

I spend some time figuring out the intent for a particular page via a script I was provided with. After that I spend some time with a blue Prismacolor pencil adding elements which I feel will help in the storytelling, add shadows to help push create the mood and ambience the scene needs, and correct some details in the art.

It is only after accomplishing this that I start inking over the blue lines.

The Inks

Most people probably think of inkers as tracers, content to follow the penciller’s lines and not figuring prominently in the art process.

It’s a common misconception by people not familiar with the comic book production process.

A bad inker can easily ruin great pencils so it is always in the best interest of an art team to get a good inker.

I use different tools for different inking projects.

In the case of LOLA, I used a Sakura brush, Chinese ink, Prismacolor blue pencils, UNI Pin technical pens of varying points, a felt tip pen, and a bunch of rulers, French curves, erasers, and a bottle of correction fluid (an inker’s best friend).

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