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Darren Taylor
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Posted: 25 June 2019 at 2:39am | IP Logged | 1 post reply

I saw this image online, thought I would share it here.

If there was a clearer way to see the influence an inker has on the end art I can't think of it.





edit-PS. I have no idea why they have been arranged in this order, neither numerical or alphabetical...it almost hurts me!




Edited by Darren Taylor on 25 June 2019 at 2:41am
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Trevor Smith
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Posted: 25 June 2019 at 3:45am | IP Logged | 2 post reply

Not that there's anything particularly wrong with it,
it's just a stylistic choice I guess, but I never really
understood that "sheen" or whatever you'd call it that
Ordway puts on all his faces.
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John Byrne
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Posted: 25 June 2019 at 4:46am | IP Logged | 3 post reply

Chronological order seems like it would make more sense.
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Darren Taylor
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Posted: 25 June 2019 at 4:52am | IP Logged | 4 post reply

Trevor, in my experience, artists can focus on many different things. Some on poses, others on structure and so on down an endless path. 

Inkers can fall into these traits also, focusing on line weights or following a 'model', providing depth. Whenever I see Ordway's inks, (Bias offered freely: I like his embellishments.), I see that 'sheen' as his way of describing the point at which the highlight meets the mid-tones. 

When an inker seeks to define something not inherent in the pencils, could be texture as easily as it could be a highlight, they move away from inking what's there to embellishing the drawing! 

If you are inking, you are prepping the artwork for print. So effectively tracing the lines (with style and informed judgement) so that they are dark enough for print. If you are embellishing, well that is when you take the art and run with it in your own direction, not the pencillers.
 
Some inkers think they are inking when really they are embellishing. Not in and of itself a huge problem but if you are the penciller and you are told you will be inked you may need to be more -literal- in your lines than if you were preparing for someone who is going to embellish on your work and likely discard things like your lineweights or light sources et al.


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Darren Taylor
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Posted: 25 June 2019 at 4:56am | IP Logged | 5 post reply

Chronological order seems like it would make more sense. ---JB

Totally agree. 

All I can think is that the person tried to organise them with the starkest contrast!

When you view them say 216/220 & 232/238 & 274/279 They are less jarring. You can see the same structure to them underneath. 
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Trevor Smith
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Posted: 25 June 2019 at 5:26am | IP Logged | 6 post reply

Cool, thanks for the lesson Darren!
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Peter Martin
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Posted: 25 June 2019 at 7:50am | IP Logged | 7 post reply

I never really 
understood that "sheen" or whatever you'd call it that 
Ordway puts on all his faces
------------------------------------
I imagine he's going for an effect a bit like these shown below:

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John Byrne
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Posted: 25 June 2019 at 8:08am | IP Logged | 8 post reply

It’s studio lighting. A lot of artists do it (including me, occasionally). It’s only a problem if it doesn’t match the environment.
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Eric Sofer
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Posted: 25 June 2019 at 8:38am | IP Logged | 9 post reply

I won't ask Mr. Byrne*, but which of those do you other folk like most? Meself is fondest of Joe Sinnott, followed oh-so-closely by Mr. Byrne's work.

*Kinda rude to put him on the spot like that... especially when he might answer Dan Adkins or Tom Palmer is his fave.
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Adam Schulman
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Posted: 25 June 2019 at 9:02am | IP Logged | 10 post reply

Out of those examples, Jerry Ordway's inks. 
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Michael Penn
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Posted: 25 June 2019 at 9:16am | IP Logged | 11 post reply

I love Joe Sinnott, one of the all-time greats. But when it comes to the FF, he clearly has his idea of what they must look like and he dominates the penciller in that regard. Compare his ink of JB (above) with his ink of John Buscema:

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John Byrne
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Posted: 25 June 2019 at 9:35am | IP Logged | 12 post reply

Ah, but from Joe I got exactly what I wanted!
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