Want to see more of Blackrat? Let us know!
© 2017 Stephen Baskerville.
What you find when you seek can be too much to bear...
Script : Chad Boudreau. Art: Manoel Magalhães.
2017 Manoel Magalhães and Chad Boudreau.
And now... suspense!
© 2017 Paul Rainey.
To a bringer of light, the darkness can never be just a memory...
Script : Josh Spiller. Art : Roland Bird. Letters : Bolt-01.
© 2017 Josh Spiller and Roland Bird.
Hold hands, this is an upstick!
© 2017 Marc Jackson.
Horror piled upon horror faces the good-hearted Minister Soulis, as he battles against the evil that has come to his cursed parish...
By Robert Louis Stevenson. Adapted by Stewart Moore.
© 2017 Stewart Moore.
Please see more of this work in Extras!
ACES WEEKLY Volume 28, Week Seven!
As all of you subscribers know, one of our regular Aces of Aces Weekly - Jok, of Dungeons and Burglars - has kindly donated several full pages of original art to our monthly, exclusive-to-subscribers, free prize draws! Here, as I promised in my emailing to you, is a word from the man himself, describing his technique in producing them :
' From being young, I hated "erasing pencils"... Wait, what is that? Let me describe it :-) There are several steps involved in producing a page of comic art. I always begin with a very simple layout - a ' thumbnail ' - of a page, which will help me with the script interpretation ; the overall composition of the pages/panels/baloons ; and the balance of blacks on the page. It also helps with the storytelling - which is the most important element in any strip in maintaining the flow of the narrative. As soon as I´m happy with the rough layouts ( as happy as any artist with a deadline can be! ) I proceed with a pencil drawing of the actual art page, which then will need to be drawn over in black ink. In circumstances in which this pencilled page might be drawn in regular black lead pencil, all traces of the pencil construction underneath the inking would have to be erased in order not to muddy the image of the final black inks when scanned. Using red or blue pencils avoids having to do this. Why? Because the scanning of the final art can be fixed to allow those colours not to photograph - to be invisible - while the black of the inking can register cleanly. When I was younger and ignorant of this valuable knowledge, I'd often damage my art, or the surface of the paper it was drawn on, in trying to scrub away to perfection its black lead pencil base. Anyway, this is the reason why I use color pencils on boards. They also make original art pages look warmer, which is a cool side effect, I think.'
We agree, Jok... : )
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