As I've said here some time ago about it, I like the inking. It is an important and rather dangerous and that's what's cool. I realize my inking in two phases: 1) a phase "gross" with felt brush, made with as much energy as possible (I am standing at my table) and
2) A phase "fine tuning", the performed felt fine and white felt, where I strive to perfect the appearance of materials, expressions ...
Here's the equipment I use in general: Scotch repositionable (blue box) to be able to go without restraint with felt brush without fear of overflow box, a felt pencil Pentel fine point (for Japanese calligraphy, starting ), the ink (and brush) for large areas of solid black, a criterion for a few occasions penciled in tears (and 3 or 4 pencils all mine-fat (type Titan), and some felt for Faber black castle for fine tuning (I take the cover completely, it still serves), a black ballpoint pen, you never know; white markers (fine and medium) and tip-ex pen. And of course the Staedtler eraser because I ink Live on the sketch. With all that, I'm in the pub, say so. (for those who wonder what is that thing pink flower that is under the material, it is a gadget to match had made my wife when she was in college, and is very convenient because my desk is so bent that otherwise, everything rolls and tumbles against the stop at the bottom of the board. La, there are even small pockets, it's very practical.)
as an example, here are two stages for the inking plate 11, Part A and Part B. (The parallels are distorted because they are not scans, but pictures taken with a small digital, eh. )
Part A) ...
... and Part B)
soon
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