I've literally watched this over a hundred times in the last twenty years. I bought this, the Story Grfx and pencilling back in 2001-3. All incredible. Good pull stroke inking demo too. Most inkers today push their strokes. I like both because I hate turning the paper (or screen) and try to avoid too many repetitive strokes at my age and level of shoulder RSI. Neal was my primary favorite from 82-2002. Since then it's been Joe hands down.
Joe and his staff were kind enough to send the course to me here in Ireland and I learned SO much from it. The corrections on the tracing paper over my art was an eye opener! Some small things that made a huge difference.
Terrific. Hard to believe these recordings were made almost 25 years ago. The videography and editing is as good as any produced now. How forward-thinking. The teaching is still relevant and engaging to watch. Thanks for sharing.
The Four Mechanical Design-Style(2 Chronicles 26:15) Mechanical Design-Style of backgrounds(background design-style): kinetic architectures(with mechanically articulated architectural elements) with forms of technological devices and functions of social, educational, political, religious or economic devices(commercial, industrial or extractive).(2) Chronicles 26:15) Mechanical Design-Style of figures (character design-style): social robots (communicative and interactive) and claytronic human-machine interfaces. (2 Chronicles 26:15) Mechanical Design-Style of forms(creature design-style): automotive, aerospace and naval claytronic vehicles(means of transport and locomotion).(2 Chronicles 26:15) Mechanical Design-Style of details (custom design-style): fashionable clothes, costumes, hairstyles, footwear and cybernetic utensils. (2 Chronicles 26:15)
List of materials and drawing composition tools. (1 Chronicles 28:11) 2 15mm paper clips. 1 transparent cellophone paper. 1 baller to avenge paper. 1 mechanical pencil 0.5mm B 1 3B pencil 6 A4 carbon paper: yellow, red and blue. 3 A3 tracing paper 60/65g/m² 3 A3 bond paper 75g/m² 3 plain Frabriano A3180g/m² or Strathmore Bristol paper. How to sketch, ink and transfer 1 background design-style study on 1 Fabriano A3 or Bristol paper. (1 Chronicles 28:19) Sketch 1 background study (background design-style) on A3 75g/m² bond paper Take 1 A3 60/65g/m² tracing paper, place it on the A3 75g/m² bond paper and secure with 15mm paper clips between 1 A3 60/65g/m² bond paper and A3 75g/m² tracing paper. Entente 1 background study (background design-style) on 1 A3 75g/m² tracing paper. Take 1 piece of Fabriano or Bristol paper (detached from the drawing pad) or open the Fabriano A3 or Bristol drawing pad. Take 2 yellow A4 carbon paper, join them making an A3 on 1 Fabriano A3 or Bristol paper. Detach the 2 15mm drawing clips, take 1 A3 75g/m² tracing paper with background ink (background design-style), place on the 2 yellow A4 carbon paper made 1 yellow A3 carbon paper. Take 1 transparent cellophone paper, place it on the 2 yellow A4 carbon papers. Take a 1 baller to crease paper. Decal with 1 baller on transparent cellophone paper on 1 A3 75g/m² tracing paper with background ink (background design-style). Ready, 1 yellow carbon background decal (background design-style) on 1 Fabriano A3 or Bristol paper. How to sketch, ink and transfer a figure study (character design-style) on Fabriano A3 or Bristol paper. (Exodus 25:40) Sketch 1 figure study (character design-style) on A3 75g/m² bond paper Take 1 A3 60/65g/m² tracing paper, place it on the A3 75g/m² bond paper and fasten with clips between 1 A3 60/65g/m² bond paper and A3 75g/m² tracing paper. Create 1 figure study (character design-style) on 1 A3 75g/m² tracing paper. Take 1 piece of Fabriano or Bristol paper (detached from the drawing pad) or open the Fabriano or Bristol A3 drawing pad. Take 2 red A4 carbon paper, join them making an A3 on 1 Fabriano or Bristol A3 paper. Release the 2 clips, take the A3 75g/m² tracing paper with figure ink (character design-style), place on the 2 red A4 carbon paper making 1 red A3 carbon paper. Take 1 transparent cellophone paper, place it on top of the 2 red A4 carbon papers. Take 1 baller. Decal with 1 baller on transparent cellophone paper on 1 A3 75g/m² tracing paper with figure ink (character design-style). Ready, 1 red carbon background decal (character design-style) on 1 Fabriano or Bristol A3 paper. How to sketch, ink and trace a mechanical design-style study on Fabriano A3 or Bristol paper. (Exodus 26:30) Sketch 1 shape study (mechanical design-style) on A3 75g/m² bond paper Take 1 A3 60/65g/m² tracing paper, place it on 1 A3 75g/m² bond paper and secure with 15mm drawing clips between 1 A3 60/65g/m² bond paper and A3 75g/m² tracing paper. Entente 1 shape study (mechanical design-style) on 1 A3 75g/m² tracing paper. Take 1 piece of Fabriano A3 or Bristol paper (detached from the drawing pad) or open the Fabriano A3 or Bristol drawing pad. Take 2 blue A4 carbon paper, join them making an A3 on 1 Fabriano A3 or Bristol paper. Detach the 2 fasteners, take the A3 75g/m² tracing paper inked (mechanical design-style), place on the 2 blue A4 carbon paper made 1 blue A3 carbon paper. Take 1 transparent cellophone paper, place it on top of the 2 blue A4 carbon paper. Take a 1 baller to crease paper. Decal with 1 baller on transparent cellophone paper on 1 A3 75g/m² tracing paper inked (mechanical design-style). Ready, 1 blue carbon background decal (character design-style) on 1 Fabriano A3 or Bristol paper. How to ink 1 tracing composition. (Exodus 31:6) List of materials for inking a transfer drawing composition: 1 brush №0 1 G nib feather. 1 round tip feather. 1 Ink Fountain Pen 30ml Pilot Black. 1 Kuretake White Ink 30ml CNCE2013 First, use a brush, pen and Indian ink to paint the entire shape (mechanical design-style) decaled in blue carbon onto Fabriano A3 or Bristol paper. Second, use a brush, pen and India ink to paint the entire figure (character design-style) decaled in red carbon on Fabriano A3 or Bristol paper. Third, paint with a brush, pen and India ink the entire background (design-style background) decaled in yellow carbon on 1 Fabriano A3 or Bristol paper. Fourth, touch up with brush №0 and Kuretake White Ink 30ml CNCE2013. Fifth, draw white effects with brush №0 and Kuretake White Ink 30ml CNCE2013. Ready, 1 inked drawing composition.(Exodus 35:10)
Wow! That was a flashback to another era. I learned SO MUCH from this video and I hope more people ‘like’, ‘view’, and ‘share’ this video so that it stays in circulation over the generations. I wish I met Joe while he was alive. Never was meant to be but when I look at his son’s works, I’m reminded of how good he was because they’re really good second generations of his work. At the time of viewing this I see over 14K has viewed this and at the moment 800+ likes. I think this deserves millions of views and at least 100’s of thousands of likes. Please share this video with new starting out artists or to artists who are in the trenches looking for inspiration. Share and share it often!!!
Also I had to watch this inking lesson over and over again until I started to get the hang of it. Joe's drawing skills are spectular. It's ok to make mistakes nobody's perfect and don't get upset. I still have my first picture that I inked. Practice makes perfect!
These correspondence courses from the Kubert school are the best art lessons I've ever purchased and learned from. My two favorite correspondence courses are Horror and inking. I've been inking for 7 years now.
Did you do them correspondence? I looked into them but reviews weren't so great for the cost? Did you get helpful feedback and directions? This video is absolute gold for a dying tradition
About conceptual design project(1 Chronicles 28:11-13) 1 Trait: 1 drawing construct. Dash design-style: sinuous, curved, elliptical arc or serpentine. Draw curves (dashes) on a line (contour or internal) Draw sinuous Sierpinski "S" shapes over curves (dashes) in a line (contour or internal). Draw sierpinski curved serpentine over curvilinear sinuous in line(contour or intena). 1 Trait: 1 drawing construct. Stroke design-style: straight, angle (corner), fold (corner) or straight serpentine. Draw straight lines (strokes) on a line (contour or internal) Draw Sierpinski angles (corners) on straight lines (dashes) in a line (contour or internal). Draw sierpinski folds (corners) over rectilinear sinuous lines (contour or inner). Creation of conceptual (idealistic) drawings of composition in project (design) and style (art) graceful and mild or bold and aggressive: (Exodus 35:31-35) Detailed or hyper-realistic line: The line follows its function in the conceptual (idealistic) design project. Line detailing following your design style. Detailed or realistic and naturalistic stroke: The line follows its function in the conceptual (idealistic) design project. Detailing of lines following your design style. For example: "Spaghetti" web and "cirrus spissatus" web, sweeping and dredging net of the Spider (the True Prophet).(Habakkuk 1:15-16) The texture and shape of the cloud has a flocular (cotton) appearance. The entire cirrus spissatus cloud is a colloidal system (complex, structure) (ice ridges). The cirrus spissatus cloud structure is an opaque (coiled) fractal. The cirrus spissatus cloud chunks are a translucent(impasto) fractal with semi-transparent edges in sierpinski curves(contours). The cloud chunks are a transparent(flat) fractal with transparent edges in sierpinski curves(contours). The cloud body is the opaque(folded) structure of the cirrus spissatus cloud that divides(fractalizes) into larger translucent(pasted) structures with spatial gaps(three-dimensional) between them. The transparent structures are divided (fractalized) into transparent (flattened) cirrus spissatus cloud structures with spatial gaps (three-dimensional) between them. Web "spissatus" of the Spider (the True Prophet): the carded threads are opaque (white), the filaments are translucent (semi-transparent white) and twisted (entangled) cables (web ropes) are transparent (transparent white). (Job 7 :6; Psalms 16:6) The diffracted light takes(illuminates) the place(shadowed surface) of the shadow of the "spissatus" web, at the same time that the diffracted shadow takes(shadows) the place(illuminated surface) of direct(diffuse) light in the "spissatus" web . Format is volume (framework) of shape. For example: a huge Tyrannus Rex dinosaur head with the shape of an ark measuring one and a half meters. Figurato is the volume (framework) of a figure. For example: the body of a Tirano Rex dinosaur with a lifeboat figure for a ship measuring more than seven and a half meters high, 12 meters long, from nose to tail. Detail is volume (framework) of detail. For example: Tyrant Rex's scaly scalp with hood detail (protective cape) joined to the scaly superciliary orbicularis above the bulged bottoms of the eyes.
The strategy of Outline and Ink. (1 Chronicles 28:11) By scribbling and outlining a sketch, we are busy characterizing (creating or defining) what each detail of the figures (characters design) and background are. Inked detailing, we are concerned with characterizing (creating or defining) each detail of the figures (character design-style) and background (background design-style). In the sketch, scribble and scratch because lines represent the details of shapes (mechanical design-style), figures (character design-style) and background (background design-style). The lines are exclusive to the sketch (scribbled in pencil and outlined with a mechanical pencil). Soft lines due to using pencils. Hard lines due to using a mechanical pencil. When inking, use strokes for which through the lines represent the details of the shapes (mechanical design-style), figures (character design-style) and background (background design-style). Schema (wireframe and layout) defines the gesture of the drawn figures and backgrounds. "Volumes" defines the building blocks (geometric figures) of the details, shapes (mechanical design-style), figures (character design-style), backgrounds (background design-style) and images (underground design-style) drawn. Sketching is scribbling and outlining the shapes (mechanical design-style), figures (character design-style) and backgrounds (background design-style) drawn. Inking is drawing detailed ink of shapes (mechanical design-style), figures (character design-style) and backgrounds (background design-style) drawn with a brush pen, paintbrush, feather, technical pen or copic marker. Takehiko Inoue design-style ink: It starts with the shadow patches (own and self-designed) inked freehand with a brush №0 (Natural Bristle), moves on to the hatches inked freehand with a brush №0 (Natural Bristle) and ends with the hand-inked strokes -free with brush №0(Natural Bristle). First comes the stains painted with imported brush № 0(Natural Bristle). Second, comes the hatches inked with imported brushes № 0 (Natural Bristle). Third, comes the strokes inked with a set of imported brushes № 0 (Natural Wax). The indirect order: the steps can be interchanged. (Ezekiel 43:10-11) Strokes are short contour and internal lines, contours and surroundings, to details of shapes (mechanical design-style) and figures (character design-style) and background (background design-style). Dip only 1/3 of the brush bristles under the India ink surface in Pilot Black 30ml Fountain Pen Ink. When the ink drops 1/3 into the bristles, dip, refilling the 30ml Black Pilot Fountain Pen Ink up to 1/3. Kentaru Miura Design-Style:(Isaiah 55:9) Exact lines and strokes. Replace internal lines with seamstress and criss-cross hatches. Drawing action scenes: Contour lines become hatches of movements. Motion hatches turn into motion lines. How do I turn lines and hatches into motion lines? Through redesign, the drawing was retraced. 1) Take an A3 tracing paper with your fingers, overlap it on the drawing paper with your drawn design. 2) Fasten with a clip between both papers. 3) Redraw on tracing paper in order to replace the contoured and internal lines and strokes of details, shapes (mechanical design-style) and figures (character design-style) drawn with contoured and internal lines and strokes of movement. 4) Retrace all the details, shapes (mechanical design-style), figures (character design-style) and backgrounds (character design-style) using lines and strokes of contours and internal movements. Kim Jung Gi design-style:(Amos 3:7) Draw lines without removing the tip of the brush pen from the ink drawing paper. Joe Kubert design-style:(Proverbs 15:22) Brush №0 for drawing shapes and patches of own and self-designed shadows of figures (character design-style) and backgrounds (background design-style). G pen for drawing details, figures (character design-style) and backgrounds (background design-style). Snake pen for drawing hatches of figures (character design-style) and backgrounds (background design-style). Training (strengthening) drawing from memory using photographic references. Take an A3 tracing paper, take 2 or 3 photographic references. Place A3 tracing paper over the photographic reference. Transfer the photographic reference onto A3 tracing paper. Photographic Documentation: Use photographs of real and historical locations and places as references to draw the illustration of shapes (mechanical design-style), figures (character design-style), backgrounds (backgrounds design-style), images (undergrounds design-style) and maintain the verisimilitude with the real world. Get details from illustrated encyclopedia photographs: you can't fake details. Always go to your photo reference files to get real examples of what you want to draw because you know that backgrounds (background design-style) and objects (mechanical design-style) don't look real when you try to make them up.
I am happy to see the videos released on TH-cam. Joe was a excellent artist, a engaging teacher, and a all around great guy!! I learned so much from him...still working on my filing nibs for lettering skills Joe!! Probably just a matter of desired results. The paper under the hand while drawing/inking is something to remember. Joe shared his knowledge of graphic story creating with such heart. Thanks Joe!!
Rational Outline(1 Chronicles 28:11) Reference sketch lines work as exact markers of where to draw lines using drawing reference. Ibid, with all the sketch strokes taken as a basis to draw all the strokes yourself using drawing reference. Rational Sketch of Drawing Composition (Exodus 35:31) Reference sketch lines act as exact markers for where you plan to create lines using drawing reference. Ibidem, with the sketch strokes taken as a basis to create all the strokes yourself using drawing reference. Where do I start and end when drawing a rational drawing or using a drawing reference. Start by drawing from the inside (inner lines) to the outside (outer lines) a rational drawing or using a drawing reference. Start by drawing with the details (strokes of details and textures) of your drawing and ending with the larger ones (lines of shapes, hatches and movement) of your rational drawing or using a drawing reference.
0:00 Intro 3:42 Here's Joe! (Brief History of Ink Art and VCR tape instructions) 8:23 Basic Tools 19:14 Brush or Pen? 23:46 Textures 29:45 Light and Shadow 34:37 Lettering 39:59 Pen and Brush 45:20 The Secret to becoming a good Inker 53:50 That's it for now!
The Untimely Light-Dark:(1 Chronicles 28:11; Exodus 35:31) About shapes(mechanical design and custom), figures(character and creature design) and backgrounds(background design) №1 Gray (grisaille) on linear drawing sheet. № 2 Separate the areas of lights (direct, reflected and re-reflected) and shadows (own and projected) on the linear drawing. № 3Map gray areas of tones onto linear drawing. № 4 Cutouts of backgrounds, figures and shapes on a linear drawing. № 5 Detail plans on linear drawing. № 6 Dissolving (gradient or gradient) of gray areas of tones on the drawing. № 7 Texture stains on linear drawing. № 8 High-gloss lights on a linear design. The most terrible and wonderful design. (Judges 13:6,18)
Note(Illustration Studies): Draw studies (samples) and use references of details of weapons, vehicles, machines, accessories, props, clothing, hairstyles, fashion, decoration, objects and utensils of the time or decade. Draw with the tip of the pencil lying down because it creates minimal (narrow and thin) shadows (own, self-projected or projected). Contrast light with dark: Light is represented by lines while dark is represented by dashes. Here's an example: dark eyebrows seen from afar look like lines, so I represent them (draw them) using pencil lines. While the edges of the eyelids I represent (draw) with mechanical pencil lines. It is the contrast between pen lines, the light, and brush strokes, the dark. Draw the game of light (thin) lines with dark (thick) strokes. Writing Write the lines: the lines are equivalent to the staves and the strokes are equivalent to the letters. The lines drawn between the lines on the drawing sheet are equivalent to the words written between the lines on the writing sheet. Draw the parts of the figures and background. Sketch the shapes of the figures and background. Sketch the details of the figures and background. Paint the details in graphite. Ink the graphite shapes under inked details. Ink the graphite figures in inked shapes. Deepen the graphite under inked figures. Where I put my own shadow I leave it without lines, where I don't put my own shadow I leave it without lines. Strokes must be drawn between the drawn lines. Shadows must cover the lines and strokes drawn. Why in comics the shadows themselves are black (brush strokes). In other words, in areas to be covered with shadows you do not need to draw lines and strokes. Because when you brush, the black shadows will end up covering the lines and strokes drawn. Soon there would be unnecessary lines and dashes. The halftones are gray (hatched). Inspiration lines: An external line created is inspiration for creating the next or distant contour line. An internal line created is inspiration for creating the next or distant inspired line. Inspiration trait: A contour line created is inspiration for creating the next contour line. A created inner line is inspiration for creating the next or distant inner line. Trace by touching the tip on drawing paper: The effect is soft strokes. Trace by tapping the tip on drawing paper: The effect is hard strokes. Trace by dropping the tip onto drawing paper: The effect is soft strokes. Character design-style: Edges are not lines. Edges are construction lines for the contour and internal lines of shapes, figures, and drawing backgrounds. Find the "X" (cross diagonals), cross (cross bisectors) and diagonals (bisectors) are the construction lines for the edges (geometric solids). Draw applying the 11th principle of animation (Solid Drawing) imported into the illustration design-style: Avoid drawing symmetrical lines and strokes of details, shapes, figures and drawing backgrounds. Break the symmetry of contours and internal drawing lines: Contrast concave curves with convex curves. Accentuate and soften concave and convex curves. Contrast(contrast) arcs with windings. Accentuate and soften arches and windings. Contrast(contrast) straight lines with curves. Accentuate and soften curves and straight lines. Contrast(contrast) angles(openings) with gaps(gaps). Accentuate and soften angles and gaps. Contrast folds with corners. Accentuate and soften folds and corners. Draw overlapping (depth) lines and strokes of details, shapes, figures and drawing backgrounds. Draw insertion lines (connection) and connection lines (overlap) of details, shapes, figures and drawing backgrounds.
I've been collecting comics and drawing since I was a child. Joe is one of my favorites. One thing I notice when I watch this video outside of his great skill is that in the picture of the baseball player the bat and the ball are going the same direction. Is it a mistake? Is the batter just that ignorant? If he was trying to hit the pitch the motion lines would be in opposite directions. Just a thought
On notation and representation. (Exodus 35:31; Deuteronomy 11:18-20; Chronicles 28:11-13; Proverbs 7:3) Notation is a literal (letter), numeric (number) or cossic (characters) abstraction of shapes, figures or backgrounds. Representation is linear (dimensional), flat (two-dimensional) or volumetric (three-dimensional) figuration of shapes, figures or backgrounds. Observe, understanding much better how design-style of each stroke of letter (writing), number (calculation) or line (drawing) is being made (traced) or created (appeared). Learn by doing much better how the design-style of each stroke of letter (writing), number (writing) or line (drawing) is being done (traced) or created (appeared). Check (see) how you are doing (tracing) the design-style of each stroke yourself and whether it is performing (resulting) exactly or perfectly in accordance (equal) with the design-style of literal stroke (letter), numeric stroke (calculation ), cossic (character) or graphic (line) taught or learned. And correct the path (path, direction and direction) of the line in real time by using the tip of a quill, brush, pen, pencil or mechanical pencil taken (pinched) with your fingers.
The Rational Design(Project) Times(Multiplied by) the Intelligent Design(Project) By(Divided by) the Conceptual(Hypothetical) Design(Project) (1 Chronicles 28:11) The Rational Design(Project) Times(Multiplies) the Intelligent Design(Project) By(Divided by) the Conceptual(Hypothetical) Design(Project) The Rational Style Times(Multiplies) the Intelligent Style By(Divided by) the Conceptual(Hypothetical) Design(Project) Rational Action Times(Multiplies) Intelligent Action By(Divided by) Design(Project) Conceptual(Hypothetical) Design Reductionism (Project): Drawing (Project) reduces figures to lines and shapes to strokes. Geometric drawing reduces lines to numbers and dashes to digits. Analytical geometric design reduces design constructs to graphs of lines and numbers to line codes. The Composition Design Constructs: (Exodus 35:31) Traces(Traces) Times(Multiplied by) Marks(Residues) Times(Multiplied by) Stains(Impressions) of Drawing(Project).
It's not tracing, unless you slavishly follow the lines. It's a great opportunity to refine the drawing and improve it with inking. Think of forms and create the illusion of a 3D object in 2D space (paper).
@@DAGDRUM53 swiping your own art? Here’s a dirty secret: Neal Adams used a light table to “swipe” art. His background was an illustrator and “swiping” was a technique. Even comic greats like Alex Raymond and Wally Wood “swiped”. Oh, even Raphael and Rembrandt and Vermeer “swiped”. I really don’t understand your point.
Always put a piece of paper underneath your hand while your inking so you don't smear the ink all over the place. He forget to mention that in his video! R.I.P. Joe Kubert
The Model Evolution Simulation: (Psalms 104) A specialized form evolves (derives) from another specialized form and henceforth. Just as a specialized detail must evolve (derive) from other specialized details and consequently result in complex specialized details. Just as a specialized texture must evolve (derive) from other specialized textures and consequently result in a complex specialized texture. Just as a specialized figure must evolve (derive) from other specialized figures and consequently result in complex specialized figures. Just as a specialized movement(behavior: state machine) must evolve(derive) from other specialized movements(behavior: state machine) and consequently result in complex movements(behaviors: specialized state machine), . Considering(taking into account) the parameters(criteria and environmental factors) that will influence the evolution(biodesign phenomenon) of our model(detail, shape, figure, texture or background) 2D(image or drawing and video or cartoon) or 3D (hologram or holographic sculpture and claytronic or digital sculpture) Evolutionary Stage I-When evolution originating at the base of the environment(biome: depths and abysmal trenches) environment(of the ocean) reaches the top(surface) of the environment(ocean liquid) environment(biotope) then the life form(biotype) evolves up to the next level of environment (terrestrial biome) environment (lithosphere). Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak, then this evolutionary life form (biotype) has no way to nourish itself from its environment. Why the food chain has become unsustainable for this evolving form of life (biotype) that "pushes" it towards the next level environment (biome: earth) environment (biotope). Evolutionary Stage II-When evolution originating at the base of the environment(biome: valleys and depressions) environment(terrain) reaches the top(mountains and hills) of the environment(lithosphere) environment(biotope) then the life form(biotype) evolves up to the next level of environment (air biome) environment (atmosphere). Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak (evolutionary apex) then this evolutionary life form (biotype) has no way to nourish itself ( biomass) from its environment. Why has the food chain become unsustainable for this evolving form of life (biotype) that "pushes" it towards the next level of environment (biome: outer space) environment (biotope). Evolutionary Stage III-When evolution originating at the base of the environment(biome: moons and sidereal rings), environment(of outer space) reaches the top(comets and asteroids) of the environment(siderosphere), environment(biotope), then the life form(biotype ) evolves to the next level of environment (sidereal biome) environment (siderosphere). Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak (evolutionary apex) then this evolutionary life form (biotype) has no way to nourish itself ( biomass) of its environment(biome: moons and sidereal rings) environment(biocenosis: siderosphere). Why has the food chain become unsustainable for this evolving form of life (extremophile biotype) that "pushes" it towards the next level of environment (biome: space or alien invasion) environment (alien abiocenosis: xenoplanet). Model Involution Simulation: Panspermia (Exogenesis) Involutional Stage I-When evolution originating at the top(planetoids: comets and asteroids) of the middle(siderosphere) environment(of outer space) reaches the base(abiome: moons and asteroid rings) of the middle(siderosphere) environment(abiotope) then the life form (extremophile biotype) evolves to the previous level of environment (sidereal biome) environment (siderosphere). Because when(millions of years of involution) the trophic level(abiomass) of the food chain of this life form(extremophile abiotype) reaches its foot(involutional root), then this involutional life form(extremophile abiotype) has no way of nourishing- se(abiomass) of its environment(planetoids: comets and asteroids) environment(abiocenosis: siderosphere). Why has the food chain become unsustainable for this form of life(extremophile abiotype) in involution that "pulls" it towards the previous level of environment(biome: moons and planetary rings) environment(abiocenosis: outer space) Involutionary Stage II-When the involution originating at the top(mountains and hills) of the environment(lithosphere) environment(biotope) reaches the base of the environment(biome: valleys and depressions) environment(terrain) then the life form(extremophile abiotype) it evolves towards the previous level of environment(terrestrial biome) environment(biocenosis: lithosphere). Why when(millions of years of involution) the trophic level(biomass) of the chain feeding of this form of life(extremophile abiotype) reaches its foothills(involutionary root), then this involutive form of life(extremophile abiotype) has no way of nourishing itself(abiomass) from its environment(biome: atmospheric layer) environment(abiocenosis: atmosphere ). Why has the food chain become unsustainable for this form of life (extremophile abiotype) in involution that "pulls" it towards the previous level of the environment (abiome: terrestrial) environment (abiotope: lithosphere). Involutional Stage I-When involution originates at the top(surface) of the environment(ocean liquid) environment(biotope) reach the base of the environment(biome: depths and abysmal trenches), environment(of the ocean) then the life form (abiotype) evolves to the previous level of environment (ocean biome) environment (hydrosphere). Because when(millions of years of involution) the trophic level(abiomass) of the food chain of this life form(extremophile abiotype) reaches its base, then this involutionary life form(biotype) has no way of nourishing itself from its environment, . Why has the food chain become unsustainable for this form of life (abiotype) in evolution that "pulls" it towards the previous environment level (biome: depths of the ocean) environment (biotope: valleys, trenches and hydrothermal vents).
I've watched this at least 4 times. Is the tracing paper just so you can practice with the pen or what? (Love the videos BTW very helpful and aspire to attend the kubert school when im older).
I've literally watched this over a hundred times in the last twenty years. I bought this, the Story Grfx and pencilling back in 2001-3. All incredible. Good pull stroke inking demo too. Most inkers today push their strokes. I like both because I hate turning the paper (or screen) and try to avoid too many repetitive strokes at my age and level of shoulder RSI. Neal was my primary favorite from 82-2002. Since then it's been Joe hands down.
One of the greatest teacher who ever lived . Glad I went to this school
Joe and his staff were kind enough to send the course to me here in Ireland and I learned SO much from it. The corrections on the tracing paper over my art was an eye opener! Some small things that made a huge difference.
amazing and shared on my social media! Thank you for sharing these!
Terrific. Hard to believe these recordings were made almost 25 years ago. The videography and editing is as good as any produced now. How forward-thinking. The teaching is still relevant and engaging to watch. Thanks for sharing.
He was always forward thinking. I bet he recorded this thinking it was going to be on TH-cam one day 😄
This is fantastic. Good old days where absolutely everything was done by hand... pure artistry.
Maravilloso Mr. Kubert ❤
I am enjoying seeing this as much as learning... thanks!
I love Joe Kubert's work. THANK YOU for releases these correspondence course videos.
The Four Mechanical Design-Style(2 Chronicles 26:15)
Mechanical Design-Style of backgrounds(background design-style): kinetic architectures(with mechanically articulated architectural elements) with forms of technological devices and functions of social, educational, political, religious or economic devices(commercial, industrial or extractive).(2) Chronicles 26:15)
Mechanical Design-Style of figures (character design-style): social robots (communicative and interactive) and claytronic human-machine interfaces. (2 Chronicles 26:15)
Mechanical Design-Style of forms(creature design-style): automotive, aerospace and naval claytronic vehicles(means of transport and locomotion).(2 Chronicles 26:15)
Mechanical Design-Style of details (custom design-style): fashionable clothes, costumes, hairstyles, footwear and cybernetic utensils. (2 Chronicles 26:15)
Excellent stuff.
A true master. And his school and its artifacts are such a great legacy that he has left for all to benefit from.
It’s fabulous to be able to learn from Joe Kubert. He was very kind to me as a young pro. I wish I had something like this as a kid.
Thank you for this. I miss Mister Kubert.
List of materials and drawing composition tools. (1 Chronicles 28:11)
2 15mm paper clips.
1 transparent cellophone paper.
1 baller to avenge paper.
1 mechanical pencil 0.5mm B
1 3B pencil
6 A4 carbon paper: yellow, red and blue.
3 A3 tracing paper 60/65g/m²
3 A3 bond paper 75g/m²
3 plain Frabriano A3180g/m² or Strathmore Bristol paper.
How to sketch, ink and transfer 1 background design-style study on 1 Fabriano A3 or Bristol paper. (1 Chronicles 28:19)
Sketch 1 background study (background design-style) on A3 75g/m² bond paper
Take 1 A3 60/65g/m² tracing paper, place it on the A3 75g/m² bond paper and secure with 15mm paper clips between 1 A3 60/65g/m² bond paper and A3 75g/m² tracing paper.
Entente 1 background study (background design-style) on 1 A3 75g/m² tracing paper.
Take 1 piece of Fabriano or Bristol paper (detached from the drawing pad) or open the Fabriano A3 or Bristol drawing pad.
Take 2 yellow A4 carbon paper, join them making an A3 on 1 Fabriano A3 or Bristol paper.
Detach the 2 15mm drawing clips, take 1 A3 75g/m² tracing paper with background ink (background design-style), place on the 2 yellow A4 carbon paper made 1 yellow A3 carbon paper.
Take 1 transparent cellophone paper, place it on the 2 yellow A4 carbon papers.
Take a 1 baller to crease paper.
Decal with 1 baller on transparent cellophone paper on 1 A3 75g/m² tracing paper with background ink (background design-style).
Ready, 1 yellow carbon background decal (background design-style) on 1 Fabriano A3 or Bristol paper.
How to sketch, ink and transfer a figure study (character design-style) on Fabriano A3 or Bristol paper. (Exodus 25:40)
Sketch 1 figure study (character design-style) on A3 75g/m² bond paper
Take 1 A3 60/65g/m² tracing paper, place it on the A3 75g/m² bond paper and fasten with clips between 1 A3 60/65g/m² bond paper and A3 75g/m² tracing paper.
Create 1 figure study (character design-style) on 1 A3 75g/m² tracing paper.
Take 1 piece of Fabriano or Bristol paper (detached from the drawing pad) or open the Fabriano or Bristol A3 drawing pad.
Take 2 red A4 carbon paper, join them making an A3 on 1 Fabriano or Bristol A3 paper.
Release the 2 clips, take the A3 75g/m² tracing paper with figure ink (character design-style), place on the 2 red A4 carbon paper making 1 red A3 carbon paper.
Take 1 transparent cellophone paper, place it on top of the 2 red A4 carbon papers.
Take 1 baller.
Decal with 1 baller on transparent cellophone paper on 1 A3 75g/m² tracing paper with figure ink (character design-style).
Ready, 1 red carbon background decal (character design-style) on 1 Fabriano or Bristol A3 paper.
How to sketch, ink and trace a mechanical design-style study on Fabriano A3 or Bristol paper. (Exodus 26:30)
Sketch 1 shape study (mechanical design-style) on A3 75g/m² bond paper
Take 1 A3 60/65g/m² tracing paper, place it on 1 A3 75g/m² bond paper and secure with 15mm drawing clips between 1 A3 60/65g/m² bond paper and A3 75g/m² tracing paper.
Entente 1 shape study (mechanical design-style) on 1 A3 75g/m² tracing paper.
Take 1 piece of Fabriano A3 or Bristol paper (detached from the drawing pad) or open the Fabriano A3 or Bristol drawing pad.
Take 2 blue A4 carbon paper, join them making an A3 on 1 Fabriano A3 or Bristol paper.
Detach the 2 fasteners, take the A3 75g/m² tracing paper inked (mechanical design-style), place on the 2 blue A4 carbon paper made 1 blue A3 carbon paper.
Take 1 transparent cellophone paper, place it on top of the 2 blue A4 carbon paper.
Take a 1 baller to crease paper.
Decal with 1 baller on transparent cellophone paper on 1 A3 75g/m² tracing paper inked (mechanical design-style).
Ready, 1 blue carbon background decal (character design-style) on 1 Fabriano A3 or Bristol paper.
How to ink 1 tracing composition. (Exodus 31:6)
List of materials for inking a transfer drawing composition:
1 brush №0
1 G nib feather.
1 round tip feather.
1 Ink Fountain Pen 30ml Pilot Black.
1 Kuretake White Ink 30ml CNCE2013
First, use a brush, pen and Indian ink to paint the entire shape (mechanical design-style) decaled in blue carbon onto Fabriano A3 or Bristol paper.
Second, use a brush, pen and India ink to paint the entire figure (character design-style) decaled in red carbon on Fabriano A3 or Bristol paper.
Third, paint with a brush, pen and India ink the entire background (design-style background) decaled in yellow carbon on 1 Fabriano A3 or Bristol paper.
Fourth, touch up with brush №0 and Kuretake White Ink 30ml CNCE2013.
Fifth, draw white effects with brush №0 and Kuretake White Ink 30ml CNCE2013.
Ready, 1 inked drawing composition.(Exodus 35:10)
Wow! That was a flashback to another era. I learned SO MUCH from this video and I hope more people ‘like’, ‘view’, and ‘share’ this video so that it stays in circulation over the generations. I wish I met Joe while he was alive. Never was meant to be but when I look at his son’s works, I’m reminded of how good he was because they’re really good second generations of his work. At the time of viewing this I see over 14K has viewed this and at the moment 800+ likes. I think this deserves millions of views and at least 100’s of thousands of likes. Please share this video with new starting out artists or to artists who are in the trenches looking for inspiration. Share and share it often!!!
Also I had to watch this inking lesson over and over again until I started to get the hang of it. Joe's drawing skills are spectular. It's ok to make mistakes nobody's perfect and don't get upset. I still have my first picture that I inked. Practice makes perfect!
Thank you for reupload! You rule!
This man was the MASTER!!
These correspondence courses from the Kubert school are the best art lessons I've ever purchased and learned from. My two favorite correspondence courses are Horror and inking. I've been inking for 7 years now.
Did you do them correspondence?
I looked into them but reviews weren't so great for the cost?
Did you get helpful feedback and directions?
This video is absolute gold for a dying tradition
About conceptual design project(1 Chronicles 28:11-13)
1 Trait: 1 drawing construct.
Dash design-style: sinuous, curved, elliptical arc or serpentine.
Draw curves (dashes) on a line (contour or internal)
Draw sinuous Sierpinski "S" shapes over curves (dashes) in a line (contour or internal).
Draw sierpinski curved serpentine over curvilinear sinuous in line(contour or intena).
1 Trait: 1 drawing construct.
Stroke design-style: straight, angle (corner), fold (corner) or straight serpentine.
Draw straight lines (strokes) on a line (contour or internal)
Draw Sierpinski angles (corners) on straight lines (dashes) in a line (contour or internal).
Draw sierpinski folds (corners) over rectilinear sinuous lines (contour or inner).
Creation of conceptual (idealistic) drawings of composition in project (design) and style (art) graceful and mild or bold and aggressive: (Exodus 35:31-35)
Detailed or hyper-realistic line:
The line follows its function in the conceptual (idealistic) design project.
Line detailing following your design style.
Detailed or realistic and naturalistic stroke:
The line follows its function in the conceptual (idealistic) design project.
Detailing of lines following your design style.
For example:
"Spaghetti" web and "cirrus spissatus" web, sweeping and dredging net of the Spider (the True Prophet).(Habakkuk 1:15-16)
The texture and shape of the cloud has a flocular (cotton) appearance.
The entire cirrus spissatus cloud is a colloidal system (complex, structure) (ice ridges).
The cirrus spissatus cloud structure is an opaque (coiled) fractal.
The cirrus spissatus cloud chunks are a translucent(impasto) fractal with semi-transparent edges in sierpinski curves(contours).
The cloud chunks are a transparent(flat) fractal with transparent edges in sierpinski curves(contours).
The cloud body is the opaque(folded) structure of the cirrus spissatus cloud that divides(fractalizes) into larger translucent(pasted) structures with spatial gaps(three-dimensional) between them.
The transparent structures are divided (fractalized) into transparent (flattened) cirrus spissatus cloud structures with spatial gaps (three-dimensional) between them.
Web "spissatus" of the Spider (the True Prophet): the carded threads are opaque (white), the filaments are translucent (semi-transparent white) and twisted (entangled) cables (web ropes) are transparent (transparent white). (Job 7 :6; Psalms 16:6)
The diffracted light takes(illuminates) the place(shadowed surface) of the shadow of the "spissatus" web, at the same time that the diffracted shadow takes(shadows) the place(illuminated surface) of direct(diffuse) light in the "spissatus" web .
Format is volume (framework) of shape.
For example: a huge Tyrannus Rex dinosaur head with the shape of an ark measuring one and a half meters.
Figurato is the volume (framework) of a figure.
For example: the body of a Tirano Rex dinosaur with a lifeboat figure for a ship measuring more than seven and a half meters high, 12 meters long, from nose to tail.
Detail is volume (framework) of detail.
For example: Tyrant Rex's scaly scalp with hood detail (protective cape) joined to the scaly superciliary orbicularis above the bulged bottoms of the eyes.
The strategy of Outline and Ink. (1 Chronicles 28:11)
By scribbling and outlining a sketch, we are busy characterizing (creating or defining) what each detail of the figures (characters design) and background are.
Inked detailing, we are concerned with characterizing (creating or defining) each detail of the figures (character design-style) and background (background design-style).
In the sketch, scribble and scratch because lines represent the details of shapes (mechanical design-style), figures (character design-style) and background (background design-style).
The lines are exclusive to the sketch (scribbled in pencil and outlined with a mechanical pencil).
Soft lines due to using pencils.
Hard lines due to using a mechanical pencil.
When inking, use strokes for
which through the lines represent the details of the shapes (mechanical design-style), figures (character design-style) and background (background design-style).
Schema (wireframe and layout) defines the gesture of the drawn figures and backgrounds.
"Volumes" defines the building blocks (geometric figures) of the details, shapes (mechanical design-style), figures (character design-style), backgrounds (background design-style) and images (underground design-style) drawn.
Sketching is scribbling and outlining the shapes (mechanical design-style), figures (character design-style) and backgrounds (background design-style) drawn.
Inking is drawing detailed ink of shapes (mechanical design-style), figures (character design-style) and backgrounds (background design-style) drawn with a brush pen, paintbrush, feather, technical pen or copic marker.
Takehiko Inoue design-style ink:
It starts with the shadow patches (own and self-designed) inked freehand with a brush №0 (Natural Bristle), moves on to the hatches inked freehand with a brush №0 (Natural Bristle) and ends with the hand-inked strokes -free with brush №0(Natural Bristle).
First comes the stains painted with imported brush № 0(Natural Bristle).
Second, comes the hatches inked with imported brushes № 0 (Natural Bristle).
Third, comes the strokes inked with a set of imported brushes № 0 (Natural Wax).
The indirect order: the steps can be interchanged. (Ezekiel 43:10-11)
Strokes are short contour and internal lines, contours and surroundings, to details of shapes (mechanical design-style) and figures (character design-style) and background (background design-style).
Dip only 1/3 of the brush bristles under the India ink surface in Pilot Black 30ml Fountain Pen Ink.
When the ink drops 1/3 into the bristles, dip, refilling the 30ml Black Pilot Fountain Pen Ink up to 1/3.
Kentaru Miura Design-Style:(Isaiah 55:9)
Exact lines and strokes.
Replace internal lines with seamstress and criss-cross hatches.
Drawing action scenes:
Contour lines become hatches of movements.
Motion hatches turn into motion lines.
How do I turn lines and hatches into motion lines?
Through redesign, the drawing was retraced.
1) Take an A3 tracing paper with your fingers, overlap it on the drawing paper with your drawn design.
2) Fasten with a clip between both papers.
3) Redraw on tracing paper in order to replace the contoured and internal lines and strokes of details, shapes (mechanical design-style) and figures (character design-style) drawn with contoured and internal lines and strokes of movement.
4) Retrace all the details, shapes (mechanical design-style), figures (character design-style) and backgrounds (character design-style) using lines and strokes of contours and internal movements.
Kim Jung Gi design-style:(Amos 3:7)
Draw lines without removing the tip of the brush pen from the ink drawing paper.
Joe Kubert design-style:(Proverbs 15:22)
Brush №0 for drawing shapes and patches of own and self-designed shadows of figures (character design-style) and backgrounds (background design-style).
G pen for drawing details, figures (character design-style) and backgrounds (background design-style).
Snake pen for drawing hatches of figures (character design-style) and backgrounds (background design-style).
Training (strengthening) drawing from memory using photographic references.
Take an A3 tracing paper, take 2 or 3 photographic references.
Place A3 tracing paper over the photographic reference.
Transfer the photographic reference onto A3 tracing paper.
Photographic Documentation:
Use photographs of real and historical locations and places as references to draw the illustration of shapes (mechanical design-style), figures (character design-style), backgrounds (backgrounds design-style), images (undergrounds design-style) and maintain the verisimilitude with the real world.
Get details from illustrated encyclopedia photographs: you can't fake details.
Always go to your photo reference files to get real examples of what you want to draw because you know that backgrounds (background design-style) and objects (mechanical design-style) don't look real when you try to make them up.
I am happy to see the videos released on TH-cam. Joe was a excellent artist, a engaging teacher, and a all around great guy!! I learned so much from him...still working on my filing nibs for lettering skills Joe!! Probably just a matter of desired results. The paper under the hand while drawing/inking is something to remember. Joe shared his knowledge of graphic story creating with such heart. Thanks Joe!!
Amazing! Thank you! 💯🔥
THANK YOU FOR RUNNING THIS SHOW HR WAS THE TRUE MASTER OF INKING HE MADE COMICBOOKS INTO. 3D. ALWAYS TOOK TIME TO HELP FANS HIS STYLE AS BRUSH MASTER.
Great source of instruction AND inspiration. Thanks for uploading.
JpD.
these are incredible thank you.
Rational Outline(1 Chronicles 28:11)
Reference sketch lines work as exact markers of where to draw lines using drawing reference.
Ibid, with all the sketch strokes taken as a basis to draw all the strokes yourself using drawing reference.
Rational Sketch of Drawing Composition (Exodus 35:31)
Reference sketch lines act as exact markers for where you plan to create lines using drawing reference.
Ibidem, with the sketch strokes taken as a basis to create all the strokes yourself using drawing reference.
Where do I start and end when drawing a rational drawing or using a drawing reference.
Start by drawing from the inside (inner lines) to the outside (outer lines) a rational drawing or using a drawing reference.
Start by drawing with the details (strokes of details and textures) of your drawing and ending with the larger ones (lines of shapes, hatches and movement) of your rational drawing or using a drawing reference.
Million thanks
0:00 Intro
3:42 Here's Joe! (Brief History of Ink Art and VCR tape instructions)
8:23 Basic Tools
19:14 Brush or Pen?
23:46 Textures
29:45 Light and Shadow
34:37 Lettering
39:59 Pen and Brush
45:20 The Secret to becoming a good Inker
53:50 That's it for now!
I wish I had this video when I was ten with my "How To Draw Comics The Marvel Way", it would have been invaluable to me.
What a wonderful man and what a great lesson, just the best!
Greetings from Perú
What is the ruler brand and we’re to buy it? Fascinating with your class. Thanks 😊
The Untimely Light-Dark:(1 Chronicles 28:11; Exodus 35:31)
About shapes(mechanical design and custom), figures(character and creature design) and backgrounds(background design)
№1 Gray (grisaille) on linear drawing sheet.
№ 2 Separate the areas of lights (direct, reflected and re-reflected) and shadows (own and projected) on the linear drawing.
№ 3Map gray areas of tones onto linear drawing.
№ 4 Cutouts of backgrounds, figures and shapes on a linear drawing.
№ 5 Detail plans on linear drawing.
№ 6 Dissolving (gradient or gradient) of gray areas of tones on the drawing.
№ 7 Texture stains on linear drawing.
№ 8 High-gloss lights on a linear design.
The most terrible and wonderful design. (Judges 13:6,18)
Ordered the complete set of books. I wish I would have known about them many years ago. Great stuff.
Note(Illustration Studies):
Draw studies (samples) and use references of details of weapons, vehicles, machines, accessories, props, clothing, hairstyles, fashion, decoration, objects and utensils of the time or decade.
Draw with the tip of the pencil lying down because it creates minimal (narrow and thin) shadows (own, self-projected or projected).
Contrast light with dark:
Light is represented by lines while dark is represented by dashes.
Here's an example: dark eyebrows seen from afar look like lines, so I represent them (draw them) using pencil lines.
While the edges of the eyelids I represent (draw) with mechanical pencil lines.
It is the contrast between pen lines, the light, and brush strokes, the dark.
Draw the game of light (thin) lines with dark (thick) strokes.
Writing
Write the lines: the lines are equivalent to the staves and the strokes are equivalent to the letters.
The lines drawn between the lines on the drawing sheet are equivalent to the words written between the lines on the writing sheet.
Draw the parts of the figures and background.
Sketch the shapes of the figures and background.
Sketch the details of the figures and background.
Paint the details in graphite.
Ink the graphite shapes under inked details.
Ink the graphite figures in inked shapes.
Deepen the graphite under inked figures.
Where I put my own shadow I leave it without lines, where I don't put my own shadow I leave it without lines.
Strokes must be drawn between the drawn lines.
Shadows must cover the lines and strokes drawn.
Why in comics the shadows themselves are black (brush strokes).
In other words, in areas to be covered with shadows you do not need to draw lines and strokes.
Because when you brush, the black shadows will end up covering the lines and strokes drawn.
Soon there would be unnecessary lines and dashes.
The halftones are gray (hatched).
Inspiration lines:
An external line created is inspiration for creating the next or distant contour line.
An internal line created is inspiration for creating the next or distant inspired line.
Inspiration trait:
A contour line created is inspiration for creating the next contour line.
A created inner line is inspiration for creating the next or distant inner line.
Trace by touching the tip on drawing paper:
The effect is soft strokes.
Trace by tapping the tip on drawing paper:
The effect is hard strokes.
Trace by dropping the tip onto drawing paper:
The effect is soft strokes.
Character design-style:
Edges are not lines.
Edges are construction lines for the contour and internal lines of shapes, figures, and drawing backgrounds.
Find the "X" (cross diagonals), cross (cross bisectors) and diagonals (bisectors) are the construction lines for the edges (geometric solids).
Draw applying the 11th principle of animation (Solid Drawing) imported into the illustration design-style:
Avoid drawing symmetrical lines and strokes of details, shapes, figures and drawing backgrounds.
Break the symmetry of contours and internal drawing lines:
Contrast concave curves with convex curves.
Accentuate and soften concave and convex curves.
Contrast(contrast) arcs with windings.
Accentuate and soften arches and windings.
Contrast(contrast) straight lines with curves.
Accentuate and soften curves and straight lines.
Contrast(contrast) angles(openings) with gaps(gaps).
Accentuate and soften angles and gaps.
Contrast folds with corners.
Accentuate and soften folds and corners.
Draw overlapping (depth) lines and strokes of details, shapes, figures and drawing backgrounds.
Draw insertion lines (connection) and connection lines (overlap) of details, shapes, figures and drawing backgrounds.
When he starts doing the lettering...it blows my mind.
Thank you so much for sharing! ✌️❤️
i love this video. i gotta finish my inking course. ive done 2/5 already.
I love that this is so old the VCR player is the go to, I’m of the last generation to know what those are. I get it now, kinda LOL. Lovely show.
Thank you for this one!
I've been collecting comics and drawing since I was a child. Joe is one of my favorites. One thing I notice when I watch this video outside of his great skill is that in the picture of the baseball player the bat and the ball are going the same direction. Is it a mistake? Is the batter just that ignorant? If he was trying to hit the pitch the motion lines would be in opposite directions. Just a thought
On notation and representation. (Exodus 35:31; Deuteronomy 11:18-20; Chronicles 28:11-13; Proverbs 7:3)
Notation is a literal (letter), numeric (number) or cossic (characters) abstraction of shapes, figures or backgrounds.
Representation is linear (dimensional), flat (two-dimensional) or volumetric (three-dimensional) figuration of shapes, figures or backgrounds.
Observe, understanding much better how design-style of each stroke of letter (writing), number (calculation) or line (drawing) is being made (traced) or created (appeared).
Learn by doing much better how the design-style of each stroke of letter (writing), number (writing) or line (drawing) is being done (traced) or created (appeared).
Check (see) how you are doing (tracing) the design-style of each stroke yourself and whether it is performing (resulting) exactly or perfectly in accordance (equal) with the design-style of literal stroke (letter), numeric stroke (calculation ), cossic (character) or graphic (line) taught or learned.
And correct the path (path, direction and direction) of the line in real time by using the tip of a quill, brush, pen, pencil or mechanical pencil taken (pinched) with your fingers.
The Rational Design(Project) Times(Multiplied by) the Intelligent Design(Project) By(Divided by) the Conceptual(Hypothetical) Design(Project)
(1 Chronicles 28:11)
The Rational Design(Project) Times(Multiplies) the Intelligent Design(Project) By(Divided by) the Conceptual(Hypothetical) Design(Project)
The Rational Style Times(Multiplies) the Intelligent Style By(Divided by) the Conceptual(Hypothetical) Design(Project)
Rational Action Times(Multiplies) Intelligent Action By(Divided by) Design(Project) Conceptual(Hypothetical)
Design Reductionism (Project):
Drawing (Project) reduces figures to lines and shapes to strokes.
Geometric drawing reduces lines to numbers and dashes to digits.
Analytical geometric design reduces design constructs to graphs of lines and numbers to line codes.
The Composition Design Constructs: (Exodus 35:31)
Traces(Traces) Times(Multiplied by) Marks(Residues) Times(Multiplied by) Stains(Impressions) of Drawing(Project).
Fantastic video
The legend!
Would their be a way I could show you my work .
The brush is my favorite inking tool. I don't use the pen nibs. I perfere brushes.
Isn't crow quill something to do with pens made from crow feathers? (I really dont know!)
A tremedous artists AND, He was a great guy too.
Could have used this( course) in the 1960's. vs selective teaching & teachers
❤
👍
RIP
Tracing always had a bad connotation to me till 19:19 when I learned I could legitimately call it inking instead.
It's not tracing, unless you slavishly follow the lines. It's a great opportunity to refine the drawing and improve it with inking. Think of forms and create the illusion of a 3D object in 2D space (paper).
@@asimian8500 Then it's called a swipe.
@@DAGDRUM53 swiping your own art? Here’s a dirty secret: Neal Adams used a light table to “swipe” art. His background was an illustrator and “swiping” was a technique. Even comic greats like Alex Raymond and Wally Wood “swiped”. Oh, even Raphael and Rembrandt and Vermeer “swiped”. I really don’t understand your point.
@@asimian8500 Are you voting yourself a thumbs up each time you post?
Always put a piece of paper underneath your hand while your inking so you don't smear the ink all over the place. He forget to mention that in his video! R.I.P. Joe Kubert
That sort of Asian music in the background was typical of those years.
The Model Evolution Simulation:
(Psalms 104)
A specialized form evolves (derives) from another specialized form and henceforth.
Just as a specialized detail must evolve (derive) from other specialized details and consequently result in complex specialized details.
Just as a specialized texture must evolve (derive) from other specialized textures and consequently result in a complex specialized texture.
Just as a specialized figure must evolve (derive) from other specialized figures and consequently result in complex specialized figures.
Just as a specialized movement(behavior: state machine) must evolve(derive) from other specialized movements(behavior: state machine) and consequently result in complex movements(behaviors: specialized state machine), .
Considering(taking into account) the parameters(criteria and environmental factors) that will influence the evolution(biodesign phenomenon) of our model(detail, shape, figure, texture or background) 2D(image or drawing and video or cartoon) or 3D (hologram or holographic sculpture and claytronic or digital sculpture)
Evolutionary Stage I-When evolution originating at the base of the environment(biome: depths and abysmal trenches) environment(of the ocean) reaches the top(surface) of the environment(ocean liquid) environment(biotope) then the life form(biotype) evolves up to the next level of environment (terrestrial biome) environment (lithosphere).
Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak, then this evolutionary life form (biotype) has no way to nourish itself from its environment.
Why the food chain has become unsustainable for this evolving form of life (biotype) that "pushes" it towards the next level environment (biome: earth) environment (biotope).
Evolutionary Stage II-When evolution originating at the base of the environment(biome: valleys and depressions) environment(terrain) reaches the top(mountains and hills) of the environment(lithosphere) environment(biotope) then the life form(biotype) evolves up to the next level of environment (air biome) environment (atmosphere).
Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak (evolutionary apex) then this evolutionary life form (biotype) has no way to nourish itself ( biomass) from its environment.
Why has the food chain become unsustainable for this evolving form of life (biotype) that "pushes" it towards the next level of environment (biome: outer space) environment (biotope).
Evolutionary Stage III-When evolution originating at the base of the environment(biome: moons and sidereal rings), environment(of outer space) reaches the top(comets and asteroids) of the environment(siderosphere), environment(biotope), then the life form(biotype ) evolves to the next level of environment (sidereal biome) environment (siderosphere).
Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak (evolutionary apex) then this evolutionary life form (biotype) has no way to nourish itself ( biomass) of its environment(biome: moons and sidereal rings) environment(biocenosis: siderosphere).
Why has the food chain become unsustainable for this evolving form of life (extremophile biotype) that "pushes" it towards the next level of environment (biome: space or alien invasion) environment (alien abiocenosis: xenoplanet).
Model Involution Simulation:
Panspermia (Exogenesis)
Involutional Stage I-When evolution originating at the top(planetoids: comets and asteroids) of the middle(siderosphere) environment(of outer space) reaches the base(abiome: moons and asteroid rings) of the middle(siderosphere) environment(abiotope) then the life form (extremophile biotype) evolves to the previous level of environment (sidereal biome) environment (siderosphere).
Because when(millions of years of involution) the trophic level(abiomass) of the food chain of this life form(extremophile abiotype) reaches its foot(involutional root), then this involutional life form(extremophile abiotype) has no way of nourishing- se(abiomass) of its environment(planetoids: comets and asteroids) environment(abiocenosis: siderosphere).
Why has the food chain become unsustainable for this form of life(extremophile abiotype) in involution that "pulls" it towards the previous level of environment(biome: moons and planetary rings) environment(abiocenosis: outer space)
Involutionary Stage II-When the involution originating at the top(mountains and hills) of the environment(lithosphere) environment(biotope) reaches the base of the environment(biome: valleys and depressions) environment(terrain) then the life form(extremophile abiotype) it evolves towards the previous level of environment(terrestrial biome) environment(biocenosis: lithosphere).
Why when(millions of years of involution) the trophic level(biomass) of the chain feeding of this form of life(extremophile abiotype) reaches its foothills(involutionary root), then this involutive form of life(extremophile abiotype) has no way of nourishing itself(abiomass) from its environment(biome: atmospheric layer) environment(abiocenosis: atmosphere ).
Why has the food chain become unsustainable for this form of life (extremophile abiotype) in involution that "pulls" it towards the previous level of the environment (abiome: terrestrial) environment (abiotope: lithosphere).
Involutional Stage I-When involution originates at the top(surface) of the environment(ocean liquid) environment(biotope)
reach the base of the environment(biome: depths and abysmal trenches), environment(of the ocean)
then the life form (abiotype) evolves to the previous level of environment (ocean biome) environment (hydrosphere).
Because when(millions of years of involution) the trophic level(abiomass) of the food chain of this life form(extremophile abiotype) reaches its base, then this involutionary life form(biotype) has no way of nourishing itself from its environment, .
Why has the food chain become unsustainable for this form of life (abiotype) in evolution that "pulls" it towards the previous environment level (biome: depths of the ocean) environment (biotope: valleys, trenches and hydrothermal vents).
I've watched this at least 4 times. Is the tracing paper just so you can practice with the pen or what? (Love the videos BTW very helpful and aspire to attend the kubert school when im older).