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TimTownsend — X-MEN 7 pg 20
Published: 2011-04-14 13:37:01 +0000 UTC; Views: 11743; Favourites: 211; Downloads: 534
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Description
Random page from X-Men #7 by Chris Bachalo and myself.Related content
Comments: 16
I like to know -if it is possible- how do you get the shading on White Queen's close-up at panel 4 of the page?
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Thanks a Lot! It's good to be heard (or read) by a professional. Much appreciated!!
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So gorgeous. I wish I could add something more, but I can't think of much else. Thanks for sharing this, it's always awesome to see in progress art and inks.
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after going through all these BACHALO x TOWNSEND B&W pages I really want to see a B&W book/series - it's just so strong.
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I would love to see you two go indie and do a full book in black and white with zip tone. Or do a Tomb Of Dracula book for Marvel in the same style... you'd own the shit out of that.
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That long pannel with Storm is just ...AMAZING!!! cant wait to see this colored
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As can be expected.... really sharp/clean ink work, very impressive!!
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As ever Tim beautiful work, you and Chris make a fantastic team! Do you use traditional zip-a-tone sheets on his pages or is a post production texture you add? (stupid question I'm sure as I know the rest of your work is trad, I just wasn't sure whether can even still get tone sheets anymore!)
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Not stupid at all, actually. Id prefer to use tradition zip (I absolutely love the stuff) but its scarcity is prohibitive. Chris actually does it on his end by inking that portion of the image very roughly, scanning it, laying down a layer of dot tone, printing it out on regular paper, and then pasting on the original art board. Im a neat freak and it looks kind of sloppy on the original. Its also a big headache to work around but it is a big time saver in the end.
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That's really interesting - I wouldn't have thought of Chris having gone for the collage style approach at his end with self-printed tone. I guess that so long as you know how you want it to look when finished or when aiming for a specific look it's just a case of trying to find the most efficient workflow to make it happen. It certainly would make the originals exciting to look at I'm sure, as one of the problems inherent with any form of digital post work (...especially digital inking itself - less said about that for the moment the better) is that it's simply not a part of the original art, and so the original never feels complete, particularly at the point of resale!
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Chris and I are both BIG in to the aesthetics of the original art. We love a nice original. He could easily add the dot patterns when he colors the stuff but then the original would lack the extra depth....so we do it this way. Its nice to have a penciler that appreciates the value of a nice, traditionally inked original.
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Amen man! There's nothing quite like the look and feel of a finished artboard in your hands - that's so great that you guys are on the same page; but then again I guess that's why you make such a good team!
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That's damn right! There's nothing like a neat complete piece of traditional artwork.
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