We’re trying something a bit new this time around!
As you may know, we’ve started production on Season Two of Twisted Dark – something all of us here at TPub are VERY excited about! We have a LOT of stories in production right now – we’ve had 8 stories completed and 5 more are in production and due to be finished by early June 2019. In honour of the wonderful creative team we’ve put together, we’ve asked a few of them to do guest posts on our blog – which is here – about their creative process. We’re not sure what kind of a schedule we’ll be keeping yet, but expect a few more guest posts in the near future!
The first of these guest posts was written by the inker for Breakout, the first story of the new season – Silvano Beltramo. He had a rather unique experience with us – the illustrator we originally hired couldn’t finish the story and made some errors in panels, so he did inks on some pages and completed other pages from scratch! We think he did an AMAZING job, and we think you’ll really like the finished product!
Without further ado, here it is!
I thank Neil for the opportunity to tell the story behind my work!
For the story “Breakout”, I operated to made corrections and the inking for some pencils made by another artist, but I had full freedom to be able to intervene even on the drawings already made, if I thought there was any need.
In the end I preferred to make many changes, to make the storytelling and the characterizations of the characters more effective, and therefore most of the pages have been redesigned from scratch.
I work totally in digital (with the Clip Studio Paint as software and the Cintiq 22HD as hardware), obviously working in digital is easier for the preparation of the page and then carry out the subsequent corrections.
In making “Breakout” the first step I took, was to study the layout of the page (storytelling is the most important part of my work) trying to effectively translate the script descriptions.
In the layout I decided the position of the characters, the shots and the general balance of the page; one thing I pay close attention to is the alternation of shots (close-ups, long shots, etc.) so as not to make the storeytelling boring.
In terms of layout, since the page is barely sketched, I focused on the language of the body, so that the characters played correctly; one of the most important rules I followed is that a page must work and be readable even without the lettering.
When the layouts was fine, I worked on the pencil drawing; my pencil is not very detailed, since I have defined some details directly with inking.
With pencil drawing I focused mainly on refining the draw of faces and hands.
In this story, in particular, I had to study how to reproduce, with my style, characters that appeared in other stories and even create characters starting from photos, so that they were recognizable… this was one of the things that took me longer.
The last step was inking, where I finished the drawing and added the details and effects that was missing, and inserted the black areas that served to make the design of the page balanced.
To avoid the too “clean” effect typical of digital work, to ink, I used a digital brush made by me with a slightly textured and “dirty” effect… my goal is to imitate as much as possible the effect of a page inked by hand and then scanned.
“Breakout” was in black and white, so I finally added a layer of shades (with a dot pattern effect) to complete it further.
At this point in the processing, the pages were finished and ready to be sent to the publisher.