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/ic/ - Artwork/Critique

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6566633 No.6566633 [Reply] [Original]

ignore the fact that its coomer shit for a moment and just focus on those little bits of hatching at the end of the lines, what the fuck is that shit called?
>inb4 hatching
for the purpose they are being employed i imagine they have some other type of name so dont be a troll and just tell me

>> No.6566641

the purpose is to define an area but with hatching which makes it look softer than if you did it with a regular line
now delete the thread

>> No.6566643

It really is called hatching

>> No.6566646

fuck you're right, im a faggot
deleting now

>> No.6566647

its hatching specifically feathering

>> No.6566655

The artist here is using hatching to show the slight bulging of the gluteus muscles on either side of the sacrum (that triangular bony structure that points down to the cleft of the buttocks). Hatching is useful to show subtle plane changes in line drawings of flesh or soft materials.

>> No.6566659

>the current state of /ic/
go study some old masters drawings ffs

>> No.6566663
File: 418 KB, 738x909, art of comics.png [View same] [iqdb] [saucenao] [google]


>> No.6566666

i try to delete the thread but it doesnt work and i already stopped caring anyways
thank you, i knew it had to have a distinct name for when it was employed for this purpose, its like texture mapping, depending on what you're using it for it aquires a different name, such as a bump map if you're making bumps, i had a hunch this was the case with hatching and ive been proven right
>go study some old masters drawings ffs
meme advice, i draw what i want and do it from the wrist too without obsessing over ancient art styles i dont care about

>> No.6566669

you sound pretentious
let me guess, you draw shitty loli

>> No.6566677

id advice reading comic inking books even if you draw anime

>> No.6566680

i got quints so the chan god's are validating me further
drawing from elbow and shoulder is done for big works of art painters used to do when nowadays you're drawing small shit on a screen or paper and zooming in for fine details, you dont get tunel bullshit fucking your hand up if you work out and stretch so again, meme advice, its cause westoids obsess so much over ancient realist paintings that their stylized art tends to be unnapeling dog shit
>let me guess, you draw shitty loli
i will neither confirm nor deny this, you probably paint realist boomer crap that i dont care about so opinion discarded
yea i already research that stuff, comic shading is cool when done right

>> No.6566686

You don't need to confirm anything. You type like the usual pretentious guy who pops in and out of here.

>> No.6569956

tiny check, onto the forbidden 6x7th reply

>> No.6570056

What book is this from

>> No.6570060

bump mapping and texture mapping aren't even the same thing.
you won't fool me, satan.

>> No.6570079

do they do hatching with the same brush as the rest of the line art? And do they do it while going around drawing the thing, or do they save all the hatching for the end?

>> No.6570102

Zoomer retard

>> No.6570123

Art of Comic Book Inking by Gary Martin
every artist has preferred methods and tools nothing concrete

>> No.6570332

What was the point of this thread? Okay now you have the nomenclature, you think that will help you draw better? Next time post in the stupid questions thread

>> No.6570396

Have you ever read a single book?

>> No.6570488

that is a nice butt

>> No.6570612
File: 191 KB, 1280x645, dat ass.jpg [View same] [iqdb] [saucenao] [google]

I have a different question. How are those artist able to achieve such thin, subtle lines? I cant achieve that even with thinnest nibs or 0.05 pens.

Are the oryginal panels just that big? I don't think they are.
Maybe they tweak levels in PS afterwards to make it look thinner?

I also like how the lines are irregular, but that's just lots of repeated drawing over lines.

>> No.6570621

people draw on big as fuck canvases
i wish i don't have to

>> No.6570625

>are the original panels just that big?
Yes, mangaka have been drawing using CSP for a while, specifically the version that includes a lot of shit to assist in making a functional print product. On top of that, manga were often drawn on oversized paper and then printed at a smaller size such as A5 back when trad was the main way.

Drawing manga the trad way is based but only a minority have done it that way since the 2000s, and only doujin authors were doing it that late (pros had moved to digital at the end of the 90s).

A lot of western grifters STILL sell the idea that manga is made on paper. It fits the whole mystical bamboo-and-wood samurai aesthetic that weebs get suckered into. Like there's some fuck who has a blog where he blabs falsehoods about Miura's process being trad when there's photos from JP publications of the man's workstation being all digital.

All of this isn't to say that drawing manga traditionally is stupid or bad or inefficient (though it CAN BE if you're retarded), just that you need to keep in mind it's not the norm when studying others' techniques, as they may be using digital.

Same goes for things like copics or screen tones or letraset. There was a bried period from around the 80s-90s when these things were commonly sold, but they were just a stopgap between totally-hand-done colors, shading and lettering and the digital equivalents. They can make beautiful art, but you are venturing into an area where people barely had enough time to get expert at them before the industry moved on, and there isn't a huge amount of good, solid, time-tested info on how to best use them. Most is from hobbyists, C- or D-tier professionals, or grifter instructors.

>> No.6570635

is yours a dip pen? you can load it with less ink and you get scratchy marks like that, not sure if its the same method used.

>> No.6570637


>> No.6570646
File: 447 KB, 832x1200, Overflow_075.jpg [View same] [iqdb] [saucenao] [google]

I know what you speak of, but this technique is pretty hard to control.

>pros had moved to digital at the end of the 90s).
Sigh, I probably should too... But I just like working on paper...

Those subtile lines remind me of art from Tuna Empire, , Secret Plot (dont remember author name), Mashumaro Juubadri (Voice of gehenna) or, most likely, inoue kiyoshirou, his lines ware extra thin and subtile.

>> No.6570903

Psyop thread

>> No.6571112
File: 2.27 MB, 2448x3264, media_FengOaIVQAETNsA.jpg [View same] [iqdb] [saucenao] [google]

There is nothing wrong with working on paper, it has different drawbacks and benefits. And you can always scan your roughs/inks and adjust, tone, etc. them digitally afterwards.

Digital has some very strong advantages in a production environment but there ARE still people drawing (or printing and coloring) on paper, at least part of the time. Picrel is one of Yoshikadu's setups for both digital and trad - he moves his big ass tablet in place of the paper when doing digital.

>> No.6571115
File: 1.98 MB, 2448x3264, FenfjKJVsAAHLS2.jpg [View same] [iqdb] [saucenao] [google]

Actually looking at the image again, his tablet is just UNDER the mat there. My bad.

>> No.6571142

>Art of Comic Book Inking by Gary Martin
Would you recommend this? Looks interesting.

>> No.6571151
File: 747 KB, 2048x1536, E1qJSq_VIAEeRSy.jpg [View same] [iqdb] [saucenao] [google]

what are you on about

>> No.6571154

> he moves his big ass tablet in place of the paper when doing digital
You made me feel like a giant baby, I got so lazy with constantly setting up my graphics tablet and dealing with the annoying cable work that I just stuck to using a portable tablet.

>> No.6571157

How do I draw like that

>> No.6571159

You pet the dog.

>> No.6571280

JESUS CHRIST that must cost arm and a leg.. of all the people in a small town.

>> No.6571429

these lines are achievable with most round watercolour size 2-3 brushes and black waterproof ink. being waterproof doesn’t even matter at all id imagine

>> No.6571492
File: 121 KB, 1225x846, uXC4D6m.jpg [View same] [iqdb] [saucenao] [google]

Yea it's uncommon, but there are still people who do it. It's just not the norm/standard. It's not extinct like cel animation is but most manga and doujin artists are working digitally.
A solution like picrel may help you. It's made from a sturdy plastic sheet from some packaging - large boxes of chocolate and such have them. I replicated this method for my previous tablet but my current one sits in a permanent location on my tilt-top desk.
Keeps the tablet close and in an easy location.
The keypads alone cost a couple hundred each, but he's a professional mangaka and unusually autistic about ergonomics. He basically saw his peers and people he looked up to dropping dead at 50 or dealing with chronic pain/carpal tunnel and went "NOT ME NOPE." So he's been constantly revising his workstation over several years with different arrangements. That one isn't even the most recent.

As a side note: He also sets up papercraft boxes with grids on them and little balljoint models, then uses a camera to photograph them for angle refs. Often for porn poses.

>> No.6571507

Why are artists self-insert fags?

>> No.6571510

>A lot of western grifters STILL sell the idea that manga is made on paper. It fits the whole mystical bamboo-and-wood samurai aesthetic that weebs get suckered into. Like there's some fuck who has a blog where he blabs falsehoods about Miura's process being trad when there's photos from JP publications of the man's workstation being all digital.
He switched to digital at some point in the mid 2010s, which is far, far later than you're claiming digital became the standard. And shitloads of mangaka are still demonstrably drawing analog. Your statement that "only a minority have done that since the 2000s" is pure conjecture not actually backed up by evidence, and furthermore doesn't even make sense. What you're saying is just as bad as people who claim all manga is pure analog, or that one retard who'd enter every single slightly relevant thread to post about how all mangaka are hacks who only trace 3d models or some shit.
We don't actually know what most mangaka are doing since there simply isn't a whole lot of evidence of process out there for most of that industry, and what process we do have in the form of the likes of Jump Ryu and Manben are majority analog, which you can see for yourself.

>> No.6571552

Analog isn't bad, it's just that there's workflow improvements you have for it when you're dealing with an editor/team workflow. It's much easier to keep things seamless between someone else providing corrections when it's all-digital. Scanning pages and making sure they're all cohesive in terms of contrast/etc is also billable man-hours, so there's tradeoffs. Most of the time a publisher wants what sells and isn't going to cost them an arm and a leg and your work has to be worth that cost for them if you want to do trad. A large portion of doujin authors are also working all-digital as well, because it's easier to sell the digital copy + the print when you have digital first. In addition they mostly draw their normal images direct to digital anyway, so the transition between comikets and their non-con (ha) art is smooth.

I do traditional art myself. I'm under no delusions that you need to be really fucking good to hit the level of quality - in art, story, and speed - required to be hired by a publisher AND pump out weekly chapters. The vast majority are digital-first artists, it's just the reality of things.

>> No.6571604

>Analog isn't bad, it's just that there's workflow improvements[...]
Nobody is disputing this, and I myself draw (manga-like comics) entirely digitally. It can be smoother to work digitally, it can also be smoother to work analog. Need a background? Just walk 2 steps, put it on assistant's desk and explain to their face what you want.
>Most of the time a publisher wants what sells and isn't going to cost them an arm and a leg and your work has to be worth that cost for them if you want to do trad.
Here's where you may have been mislead: publishers in japan don't give a fuck how you do your work, as long as it's delivered on time and continues to sell. They're publishers only, their job is to publish and that's all they do. Magazines (which are owned by publishers but are publiCATIONS, not the publishers themselves) have editors which will be assigned to be a liaison to a few authors at a time. Authors have a flat page rate and earn royalties off book sales. That's it. The cost of production is not the publisher's concern, which is why the mangaka has to pay assistants out of their own pocket. I can't speak for western publications, but japanese ones don't care if it's digital or analog. If the author is drawing analog, it's at their own expense. Sauce: Felipe Smith's interview(s) on Cartoonist Kayfabe.
>A large portion of doujin authors are also working all-digital as well[...]
A large portion of doujin authors are also working in analog as well, because that's how they learned and digitizing your work is not at all a barrier. This isn't a solid argument, as it's based on conjecture, not statistics. It doesn't even make sense with the rest of what you're saying. The young generation of doujin artists may be drawing digitally out of convenience, but that doesn't mean the folks who have been at it for decades have all switched. I'm not even sure why you bring up the amateur industry when we're talking about the professional industry anyway.

>> No.6572139
File: 269 KB, 1126x1072, IMG_20230322_064545903.jpg [View same] [iqdb] [saucenao] [google]

guy from FlashGitz has a fucked up back despite young age, he to has an unusual setup. Anyway, this is how I store my grampa wacom.

>> No.6572160

if you ink
book cover basic ink concepts
last pages has various artists approach to inking the same pencil sketch
i found book online

>> No.6573172

Incels it's a requirement. Have you read their artists Commentary

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