Ryan Benjamin's got plenty of insights on inking. If you're interested in his full critique and want to get all his tips, check out the premium course at proko.com/marvel.
The last person's inking style looked so cool. The black shapes having a white spacing between the edges of the area (I'm not talking about rim light) sounds like an odd choice, but turned out so nicely looking.
In the first critique, what Ryan is referring to is contour lines. Understanding how contours work will help with improving cross hatching technique and blocking in.
I love Ryan's work, and have been a fan of his ever since his contribution to the Art of Homage Studios one shot he did in 93'..... Much of what he says here is practical and over all good advice. You want to keep your inks clean, and with a directional consistency.... But that shouldn't be the focus, and I do believe he knows this himself. He's just not a trained teacher so he's missing a good deal of the foundation principles. Regardless of what technique you implement, the primary focus of your inks should be in communicating three things. First: VALUE.... Value is the lights and darks and all the tones in between. Ink is a one trick pony, meaning that it's just one value: Black. Hatching and manipulating the Shape dynamics of your core shadows and highlights are techniques used to convince the eye using Optical principles to indicate shifts in Value on the subject. This allows the FORMS of the render to be properly communicated to the eye which is the Second purpose of your inks. The Final purpose is to communicate differences in TEXTURE, which is a manipulation of the light which falls on the FORMS which are the OBJECTS being rendered. Dividing the light to it's proper place is actually how the eye's work in the first place. The work of an inker should be in solidifying the Values, Tones, Shape Dynamics of the Forms, and the perceptions of Space. As long as you do that with a good clean and consistent technique your work will sell to an audience. It's you ability to sell work that will make you employable and nothing else really. The comic industry is a business before it is anything else. Regardless of whether you know these methods and techniques your work needs to be able to generate money. If it can do that then you'll likely be hired because that's the most important thing. I mean seriously, we don't live in a world where competency and skill is rewarded. Or else how do you explain the entire music industry. All Ryan can do here, is express his personal taste and experience. He's just explaining what works for him and from the perspective of his career. What is much better, is understanding core art foundations, then develop your technique in accordance to that. Remember, it's not the celebrity artist who does the hiring at a company. It's the Chief Editor, or publisher. These people have traditionally been trained in the fundamentals. Do those right, and everything else is just a matter of taste and style.
Hi proko i love your videos , i've been practicing gesture drawing for 2d animation but i cant draw dynamic poses from imagination , i only can draw them from reference
Practicing drawing them from reference is a great way to build up your mental library to refer to when drawing them from imagination. Take that reference practice and try to just draw basic figures dynamically from imagination. Don't make yourself have to make a fully detailed piece every time. Just doing full sheets of crazy gesture poses from imagination and reference until it sticks. But there's also nothing wrong with being someone who works mostly from reference. There are more artists like that than you'd think.
I need some help. I've practiced drawing clean lines, and they seem good, but when I started drawing shapes, they don't appear as clean as the lines I've practiced. Have any idea of what's going on?
Without seeing your work, I can't say too much for sure. But a common problem artists have is trying to build a complex shape out of one line. The last tip in this video talks about one way to break it down and make it easier, rather than trying to draw the whole shape all at once. Hope that helps! ruclips.net/video/lTslVOUJ0jI/видео.htmlsi=U-T_oStP01HxCT1L
@@ProkoTV In case you were wondering, I was talking about the basic shapes (squares, circles, triangles), while they aren't terrible, they could be better, but thank you.
Looks like you're talking about the part where we show Mark's hand from an inking lesson around 1:30 into the video? Ryan's credited at the opening when he's first onscreen and Mark's credited when he's onscreen.
That's the point of a critique! We don't get better if someone only tells us the good things. And if someone is already doing really well, they have the capacity to understand a critique that gets into the finer points of what they're doing. It's only a good thing!
If you mean him drawing over them digitally as examples, that's going to give you the best visual for demonstration. For the students who did the inking assignment, some printed it out and inked traditionally, while others worked digitally. That's all part of the normal production pipeline!
@@ghost21501did feel pretty shitty that the first person went traditional where you have no mulligans, and then the second went digital where there are big oopsy protections.
@@ghost21501 There are still artists that ink traditionally. It just happens to be the case that inking digitally is a bit more efficient when you have deadlines to meet. The same theory applies to both. But there is no CTRL Z with traditional.
Ryan Benjamin's got plenty of insights on inking. If you're interested in his full critique and want to get all his tips, check out the premium course at proko.com/marvel.
First
Hey proko
this man's knowledge and what he shares, is gold.
We agree!!
The last person's inking style looked so cool. The black shapes having a white spacing between the edges of the area (I'm not talking about rim light) sounds like an odd choice, but turned out so nicely looking.
Heck I love inks. Miss doing it by hand. Doubt I'll ever be as practiced as these examples are but I love linework.
Inking is fulfilling to do! It's something that you can work at slowly if that fits your schedule too
We hope you find the time to get back at it!
In the first critique, what Ryan is referring to is contour lines. Understanding how contours work will help with improving cross hatching technique and blocking in.
The attention to detail is amazing... shows how important it is to work on technique! Great video!
I love Ryan's work, and have been a fan of his ever since his contribution to the Art of Homage Studios one shot he did in 93'..... Much of what he says here is practical and over all good advice. You want to keep your inks clean, and with a directional consistency.... But that shouldn't be the focus, and I do believe he knows this himself. He's just not a trained teacher so he's missing a good deal of the foundation principles. Regardless of what technique you implement, the primary focus of your inks should be in communicating three things. First: VALUE.... Value is the lights and darks and all the tones in between. Ink is a one trick pony, meaning that it's just one value: Black. Hatching and manipulating the Shape dynamics of your core shadows and highlights are techniques used to convince the eye using Optical principles to indicate shifts in Value on the subject. This allows the FORMS of the render to be properly communicated to the eye which is the Second purpose of your inks. The Final purpose is to communicate differences in TEXTURE, which is a manipulation of the light which falls on the FORMS which are the OBJECTS being rendered. Dividing the light to it's proper place is actually how the eye's work in the first place. The work of an inker should be in solidifying the Values, Tones, Shape Dynamics of the Forms, and the perceptions of Space. As long as you do that with a good clean and consistent technique your work will sell to an audience. It's you ability to sell work that will make you employable and nothing else really. The comic industry is a business before it is anything else. Regardless of whether you know these methods and techniques your work needs to be able to generate money. If it can do that then you'll likely be hired because that's the most important thing. I mean seriously, we don't live in a world where competency and skill is rewarded. Or else how do you explain the entire music industry. All Ryan can do here, is express his personal taste and experience. He's just explaining what works for him and from the perspective of his career. What is much better, is understanding core art foundations, then develop your technique in accordance to that. Remember, it's not the celebrity artist who does the hiring at a company. It's the Chief Editor, or publisher. These people have traditionally been trained in the fundamentals. Do those right, and everything else is just a matter of taste and style.
Thanks to Ryan Benjamin and Proko for another inspiring video.
This was quite eye-opening! Can't wait to try out some of these tips later!
This is incredibly helpful!
10:48 the best is truly inking from someone and everyday for hours atleast 3hours, that's atleast 😅❤
Very instructive thank you!
Thanks for the great tips, it's really having an impact on my approach.
Excellent video
Hi proko i love your videos , i've been practicing gesture drawing for 2d animation but i cant draw dynamic poses from imagination , i only can draw them from reference
Practicing drawing them from reference is a great way to build up your mental library to refer to when drawing them from imagination.
Take that reference practice and try to just draw basic figures dynamically from imagination. Don't make yourself have to make a fully detailed piece every time. Just doing full sheets of crazy gesture poses from imagination and reference until it sticks.
But there's also nothing wrong with being someone who works mostly from reference. There are more artists like that than you'd think.
Yeah it's RB again with wisdom from CBOL!
Thank you for this video.
Thanks for watching it!
I need some help.
I've practiced drawing clean lines, and they seem good, but when I started drawing shapes, they don't appear as clean as the lines I've practiced.
Have any idea of what's going on?
Without seeing your work, I can't say too much for sure. But a common problem artists have is trying to build a complex shape out of one line. The last tip in this video talks about one way to break it down and make it easier, rather than trying to draw the whole shape all at once.
Hope that helps!
ruclips.net/video/lTslVOUJ0jI/видео.htmlsi=U-T_oStP01HxCT1L
@@ProkoTV In case you were wondering, I was talking about the basic shapes (squares, circles, triangles), while they aren't terrible, they could be better, but thank you.
Where can I find Patrick on social media? I absolutely love his art style!
@misterbosworth on IG
@@ProkoTV Awesome thank you!
Hi, was the pencil page available via the course or it was shared somewhere else? Would love to have it to practice ❤
It was! Different from some of our other courses, the download pencil page isn't available to people who haven't purchased the course.
Just one more good reason to register 😎
Thanks
Pls more mark morales🙏
Hi proko
What if his channels name was penko except of proko
We'll consider making the switch lol
His name is Ryan Benjamin not Mark Morales lol
Looks like you're talking about the part where we show Mark's hand from an inking lesson around 1:30 into the video?
Ryan's credited at the opening when he's first onscreen and Mark's credited when he's onscreen.
Still guilty, when it comes to inking...
Fi norst
First
You really botched that previous comment trying to get in first, huh? lol
I thought the inking was pretty good, kind of nitpicking
That's the point of a critique! We don't get better if someone only tells us the good things.
And if someone is already doing really well, they have the capacity to understand a critique that gets into the finer points of what they're doing. It's only a good thing!
Why ruin the beautiful hand drawings with a digital overlay?
If you mean him drawing over them digitally as examples, that's going to give you the best visual for demonstration.
For the students who did the inking assignment, some printed it out and inked traditionally, while others worked digitally. That's all part of the normal production pipeline!
@ProkoTV I didn't realize he was critiquing. Although, digital inking is the norm for the industry, which is very lame.
@@ghost21501 your butt is lame!
@@ghost21501did feel pretty shitty that the first person went traditional where you have no mulligans, and then the second went digital where there are big oopsy protections.
@@ghost21501 There are still artists that ink traditionally. It just happens to be the case that inking digitally is a bit more efficient when you have deadlines to meet. The same theory applies to both. But there is no CTRL Z with traditional.
bro does. not fnsh this drawing
He doesn't do a drawing at all. This is a critique of two separate drawings by an instructor.