I learned about Windsor Newton from an interview with Mike Allred. Apparently that's what he uses. If I were still into brushes, I'd give the Raphael a try, though. It's always fun to experiment.
My love for brushes started when I did a two year stint here in Japan at a school that teaches Japanese painting. There I was introduced to all sorts of funky brushes for inking. They have an incredibly long history of brushes in Japan, mainly derived and appropriated from the even longer history of brushes in China. It's absolutely insane how many different types of brushes they have even for just making lines. On the other hand, oil painting brushes are relatively new here, and I assume most oil painters use Western brushes.
I can't remember the name of my favorite Japanese brush for making lines, but it was basically like the Windsor Newton except it was a lot more soft and pliable, which can be good or bad depending on your personal preference, I guess. Anyhow, after I finished that Japanese painting program and got back into my cartooning hobby, I used that Japanese line brush for a looooong time and enjoyed it a lot. Until I read that Mike Allred interview and made the change.
Now I am addicted to technical pens because of the amount of control they give. They remind me so much of ball point and pencil, which are the two things I "grew up on."
But I still LOVE looking at good brushwork. Like yours. Awesome stuff! Thanks!!
Thanks, man. W&N are still very popular but I have to say the Raphaels beat them in many ways, at least in my opinion. I believe Will Eisner and some of the older comic artists used Japanese brushed because they were relatively cheap.
Interesting. I'll have to file that info about Raphaels in the back of my mind for that day when I get a hankering to get back into brushwork. Right now, when I do get the hankering to use a brush, I generally use a Pentel refillable brush pen. I don't know if you know about these, but they are totally awesome. Unlike the common felt tip brush pen, these are actually made from hair like fibers. So while a Pentel brush is not going to be as cool as a traditional brush made from real animal hair, it is amazingly more similar to a traditional brush than a felt tip brushpen. It has a refillable reservoir in the handle. The cool thing is you can draw with them anywhere, because you don't have to worry about the mess that comes with dipping into an ink bottle. You can literally take paper and your Pentel brush with you to a cafe and do brushwork there. Or work in any room of the house, if, like me, you have to fulfill fatherly duties of watching a kid while drawing. It is amazing.
That is interesting to hear about a possible connection between Eisner and Japanese brushes. I'd like to research about that more some time. I do know that the insanely huge array of Japanese painting brushes available here contain a lot of very expensive brushes, so I am a little surprised to hear that they were a cheaper option...
I think I first read about Eisner and his "stable" using cheap Japanese brushes in this book discussed here: [link], As I recall, they apparently didn't snap/spring back like standard sable brushes, so they took some getting used to but Eisner and Fine sure got some great results out of them!
You certainly know the right things to say to an "oldschool" comics guy like me - thanks! I wasn't sure who you were at first but then I checked your gallery and I remember finding a lot of things to fave in there a while back. Great stuff and right up my alley.
Since you are obviously a fan of the old comics, you might be especially interested in my current journal and the photo collage (link at bottom of journal)
I am watching you back, young fella! (I won't say how old I am but, according to your profile, our combined ages would be 91 which is probably about equal to the combined ages 5 or 6 usual Deviants!)
Well, my gallery is a mishmash of pretentious digital art, some paintings, and comic art done in slavish love for Golden and Silver Age comics. I think this is the best time in my life, for the computer tools are something that I don't take for granted, and they appeal to the teenager who never grew older. I know that I saw your work outside of DeviantArt and I am certain now that I have seen your gallery. My graphic novel is coming along slowly but surely and is intended to pay tribute to B Movies and 50s science fiction comics. I am glad to correspond with other artists because it inspires me to get off my duff and do more. Your art has a great retro feel, and it is the traditional abilities of the older cartoonist that seem to be lost today. They bled india ink! I rarely read new comics but I always have time for old EC and old Marvel and DC and Charlton. If I were to pick my favorites, I would say Williamson, Wood, Davis, Kirby, Ditko, and Robert Crumb. And I did get an autograph and poster from Al Feldstein and I thanked him for his work. Best wishes!
Sounds like we're on the same page - and it's probably one in an old comic! I'm amazed at how many people met Al Williamson, although I never had the pleasure. "Slowly but surely" describes the progress on my comic series/graphic novel too - at least the "slowly" part. And it is also heavily influenced by old B movies, as well as pre-code comics. I'm looking forward to readinging your graphic novel and I'm glad to see a few other people on here that don't do manga!
Since you are now watching me, you will definitely be seeing a couple of journals touting it when the first issue is done. Don't hold your breath though - did I mention I am the slowest artist in the world?!
Ha, ha. Well, close. It's actually "Gior", which he explains by saying, "I got the hunchback and my Mom got the dyslexia." There's a lot of goofy little twists like that since I wanted to lovingly satirize the genres while I was at it.
Sweet. This looks to be a lot of fun. The "shadowed hands o' doom" in the bottom panel are classic!
All brush, eh? You are a braver man than I! I was reading about Bernie Wrightson and how he twists his brush a few dozen or so times times to get those super thin Hunt 102 nib lines. Insane! Still, you cannot beat that brush look in comics.
I guess I'm a bit weird (well, okay, I KNOW I'm a bit weird) since I think most people find nib pens easier to master than brushes but I just took to the brush right away while I never really have got very good with dip pens. Thanks for your comments!
Hmmm, Romero Drive. I'm guessing this is located in the Horror Heights district of Genreville. I often have to travel by this neighbourhood when going from my home along Noir Strip on the way to Jungle Park.
I think I confuse people when I sometimes say "graphic novel" and sometimes "limited series". It's one and the same. I just figure I will essentially release the graphic novel in thirds. That way at least I'll get something out within the next few months (I hope)!
Ha, ha. I can see why you would think that if you have been looking at jasonedmiston's stuff. He is awesome and we are proud he's Canadian. It's funny you say that though since I am always especially impressed by the quality of stuff from South and Central America (and Mexico)! There's a lot of GREAT artists that came from there (and you are one of them!). I've just been reading about Ernesto Cabral, from Mexico, for example, and he was fantastic. And there's this gentleman, from your country:
So I think maybe you guys in Chile are pretty good too. I really like what you're doing, especially the way you are making things look like they are from the 1950/60s. I love the retro look!
I guess my biggest influences were Will Eisner, Wally Wood, Jack Davis and so on; the usual "legends". There was also a Canadian underground artist called Rand Holmes who was really, really good. For guys that are still alive, I love Charles Burns and Robert Williams (more his older ink work than his paintings) as well as the lesser-known Hilary Barta and Steve Mannion:
Actually, after this page I'm going to balloons AND lettering on the computer (although the original idea was hand drawn balloons but digital lettering). Anything to speed the darn thing up at this point!
Ha, ha. Nope. I know exactly where they're going so I'm just leaving an un-inked mess wherever the balloons will be covering the image anyway. It looks kinda ugly until it's finished but in the unlikely event anyone ever expressed an interest in buying original pages, I would simply print out the balloons and glue 'em onto the art.