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Hub AI
Inker AI simulator
(@Inker_simulator)
Hub AI
Inker AI simulator
(@Inker_simulator)
Inker
The inker (sometimes credited as the finisher or embellisher) is one of the two line artists in traditional comic book production.
After the penciller creates a drawing with pencil, the inker interprets this drawing by outlining and embellishing it with a pencil, an ink pen or a brush with black ink. Inking was necessary in the traditional printing process as presses could not reproduce pencilled drawings. Another specialist, the letterer, handles the "inking" of text and word balloons, while the colorist applies color to the final inked art submitted by the inker.
While inking involves tracing pencil lines in a literal sense, it is an act of creative interpretation rather than rote copying. Inkers fine-tune the composition by adding the proper thickness to lines, creating visual contrast through shading, and making other artistic choices. A pencil drawing can have many shades of grey depending on the hardness of the graphite used, and the pressure applied by the artist, but an ink line generally can be only solid black. Accordingly, the inker has to translate pencil shading into patterns of ink, for example by using closely spaced parallel lines, feathering, or cross-hatching. The result is that the final look of a penciller's art can vary enormously depending on the inker.
An experienced inker paired with a novice penciler might also be responsible for correcting anatomical or other mistakes, modifying facial expressions, or changing or improving the artwork in a variety of other ways. Alternatively, an inker may do the basic layout of the page, give the work to another artist to do more detailed pencil work, and then ink the page themself (as Joe Simon often did when inking Jack Kirby, or when Michael T. Gilbert collaborated with penciler P. Craig Russell on the Elric of Melniboné series).
The division between penciller and inker described here is most frequently found where the penciller and inker are hired independently of each other by the publisher. Where an artist instead hires their own assistants, the roles are less structured; an artist might, for example, ink all the faces of the characters while leaving the assistant to ink in the backgrounds, or work with the inker in a more collaborative fashion. Among Neal Adams' Crusty Bunkers, one inker may have been responsible for the characters' heads, another doing bodies, and a third embellishing backgrounds. The inking duo Akin & Garvey had a similar arrangement, with one inking the figures and the other the backgrounds.
One can ink digitally using computers, a practice that has started to become more common as inkers learn to use powerful drawing and editing tools such as Adobe Illustrator and Photoshop, Inkscape, Corel Painter, and Manga Studio. A graphics tablet is the most common tool used to accurately ink digitally, and use of vector-based programs precludes pixelization due to changes in resolution. However, the process is more time-consuming.
As of 2015[update] some companies put scanned pencils on an FTP site. The inker downloads them, prints them in blue, inks the pages, scans them in and loads the finished pages back on the FTP site for the company to download. While this procedure saves a company time and shipping costs, it requires artists to spend money on computer equipment.
For a long time, inking was considered a minor part of the comics industry, only marginally above lettering in the pecking order. In the early days of comic books, many publishers hired "packagers" to produce entire books. Although some "star" creators' names (such as Simon and Kirby or Bob Kane) usually appeared at the beginning of each story, the publisher generally did not care which artists worked on the book. In the early days, the creator of the feature would get credit for as long as they worked on the feature, but when they were replaced by other artists, no name credit would be given to them. Packagers instituted an assembly line style method of creating books, using top talents like Kirby to create the look and pace of the story and then handing off the inking, lettering, and coloring to largely anonymous – and low-paid – creators to finish it.
Inker
The inker (sometimes credited as the finisher or embellisher) is one of the two line artists in traditional comic book production.
After the penciller creates a drawing with pencil, the inker interprets this drawing by outlining and embellishing it with a pencil, an ink pen or a brush with black ink. Inking was necessary in the traditional printing process as presses could not reproduce pencilled drawings. Another specialist, the letterer, handles the "inking" of text and word balloons, while the colorist applies color to the final inked art submitted by the inker.
While inking involves tracing pencil lines in a literal sense, it is an act of creative interpretation rather than rote copying. Inkers fine-tune the composition by adding the proper thickness to lines, creating visual contrast through shading, and making other artistic choices. A pencil drawing can have many shades of grey depending on the hardness of the graphite used, and the pressure applied by the artist, but an ink line generally can be only solid black. Accordingly, the inker has to translate pencil shading into patterns of ink, for example by using closely spaced parallel lines, feathering, or cross-hatching. The result is that the final look of a penciller's art can vary enormously depending on the inker.
An experienced inker paired with a novice penciler might also be responsible for correcting anatomical or other mistakes, modifying facial expressions, or changing or improving the artwork in a variety of other ways. Alternatively, an inker may do the basic layout of the page, give the work to another artist to do more detailed pencil work, and then ink the page themself (as Joe Simon often did when inking Jack Kirby, or when Michael T. Gilbert collaborated with penciler P. Craig Russell on the Elric of Melniboné series).
The division between penciller and inker described here is most frequently found where the penciller and inker are hired independently of each other by the publisher. Where an artist instead hires their own assistants, the roles are less structured; an artist might, for example, ink all the faces of the characters while leaving the assistant to ink in the backgrounds, or work with the inker in a more collaborative fashion. Among Neal Adams' Crusty Bunkers, one inker may have been responsible for the characters' heads, another doing bodies, and a third embellishing backgrounds. The inking duo Akin & Garvey had a similar arrangement, with one inking the figures and the other the backgrounds.
One can ink digitally using computers, a practice that has started to become more common as inkers learn to use powerful drawing and editing tools such as Adobe Illustrator and Photoshop, Inkscape, Corel Painter, and Manga Studio. A graphics tablet is the most common tool used to accurately ink digitally, and use of vector-based programs precludes pixelization due to changes in resolution. However, the process is more time-consuming.
As of 2015[update] some companies put scanned pencils on an FTP site. The inker downloads them, prints them in blue, inks the pages, scans them in and loads the finished pages back on the FTP site for the company to download. While this procedure saves a company time and shipping costs, it requires artists to spend money on computer equipment.
For a long time, inking was considered a minor part of the comics industry, only marginally above lettering in the pecking order. In the early days of comic books, many publishers hired "packagers" to produce entire books. Although some "star" creators' names (such as Simon and Kirby or Bob Kane) usually appeared at the beginning of each story, the publisher generally did not care which artists worked on the book. In the early days, the creator of the feature would get credit for as long as they worked on the feature, but when they were replaced by other artists, no name credit would be given to them. Packagers instituted an assembly line style method of creating books, using top talents like Kirby to create the look and pace of the story and then handing off the inking, lettering, and coloring to largely anonymous – and low-paid – creators to finish it.