Penciller
A penciller is an artist who works on the creation of comic books, graphic novels, and similar visual art forms, with a focus on the initial pencil illustrations.
In the American comic book industry, the penciller is the first step in rendering the story in visual form, and may require several steps of feedback with the writer. These artists are concerned with layout to showcase steps in the plot.
Tools and materials
Traditional printing technology for newspapers and comic books did not allow for quality reproduction of pencil drawings. Accordingly, artists would do the preliminary drafting in pencil, then draw over the pencil work in India ink for final reproduction. When these tasks are divided between two people, they are often referred to respectively as penciller and inker.The penciller, as the name suggests, works in pencil. Beyond this basic description, however, different artists choose to use a wide variety of different tools. While many artists use traditional wood pencils, others prefer mechanical pencils or drafting leads, which do not require sharpening. Pencillers may use any lead hardness they wish, although many artists use a harder lead to make light lines for initial sketches, then turn to a slightly softer lead for finishing phases of the drawing. Still other artists do their initial layouts using a light-blue colored pencil because that color tends to disappear during photocopying or printing.
Most US comic book pages are drawn oversized on large sheets of paper, usually Bristol board. The customary size of comic book pages in the mainstream American comics industry is 11 by 17 inches. The inker usually works directly over the penciller's pencil marks, though occasionally pages are inked on translucent paper, such as drafting vellum, or with the use of an art projector, preserving the original pencils. The artwork is later photographically reduced in size during the printing process. With the advent of digital illustration programs such as Photoshop, more and more artwork is produced digitally, either in part or entirely.
Advances in printing techniques allow a greater range of possibilities for artists. In the 1980s, DC Comics experimented with reproducing the work of noted artist Gene Colan from his original pencils. Artist Julie Delporte works with colored pencils, and her stories are reproduced directly in color from the pencilled art.
Notable creators and their techniques
Jack Kirby
From 1949 until his retirement, Jack Kirby worked out of a ten-foot-wide basement studio dubbed "The Dungeon" by his family. When starting with a clean piece of Bristol board, he would first draw his panel lines with a T-square.Arthur Adams
begins drawing thumbnail layouts from the script he is given, either at home or in a public place. The thumbnails range in size from 2 inches x 3 inches to half the size of the printed comic book. He or an assistant will then enlarge the thumbnails and trace them onto illustration board with a non-photo blue pencil, sometimes using a Prismacolor light-blue pencil, because it is not too waxy, and erases easily. When working on the final illustration board, he does so on a large drawing board when in his basement studio, and a lapboard when sitting on his living room couch. After tracing the thumbnails, he will then clarify details with another light-blue pencil, and finalize the details with a Number 2 pencil. He drew the first three chapters of "Jonni Future" at twice the printed comic size, and also drew the fifth chapter, "The Garden of the Sklin", at a size larger than standard, in order to render more detail than usual in those stories. For a large poster image with a multitude of characters, he will go over the figure outlines with a marker in order to emphasize them. He will use photographic reference when appropriate, as when he draws things that he is not accustomed to. Because a significant portion of his income is derived from selling his original artwork, he is reluctant to learn how to produce his work digitally.Jim Lee
is known to use F lead for his pencil work.J. Scott Campbell
does his pencil with a lead holder, and Sanford Turquoise H lead, which he uses for its softness and darkness, and for its ability to provide a "sketchy" feel, with a minimal amount of powdery lead smearing. He uses this lead because it strikes a balance between too hard, and therefore not dark enough on the page, and too soft, and therefore prone to smearing and crumbling. Campbell avoids its closest competitor because he finds it too waxy. Campbell has also used HB lead and F lead. He maintains sharpness of the lead with a Berol Turquoise sharpener, changing them every four to six months, which he finds is the duration of their grinding ability. Campbell uses a combination of Magic Rub erasers, eraser sticks, and since he began to ink his work digitally, a Sakura electric eraser. He often sharpens the eraser to a cornered edge in order to render fine detailed work.Travis Charest
uses mainly 2H lead to avoid smearing, and sometimes HB lead. He previously illustrated on regular illustration board provided by publishers, though he disliked the non-photo blue lines printed on them. By 2000, he switched to Crescent board for all his work, because it does not warp when wet, produces sharper illustrations, and are more suitable for framing because they lack the non-photo blue lines. Charest usually prefers not to employ preliminary sketching practices, such as layouts, thumbnails or lightboxing, in part due to impatience, and in part because he enjoys the serendipitous nature in which artwork develops when produced with greater spontaneity. He also prefers to use reference only when rendering objects that require a degree of real-life accuracy, such as guns, vehicles, or characters of licensed properties that must resemble actors with whom they are closely identified, as when he illustrated the cover to Star Trek: The Next Generation: Embrace the Wolf in 2000.Adam Hughes
The penciling process that artist Adam Hughes employs for his cover work is the same he uses when doing sketches for fans at conventions, with the main difference being that he does cover work in his sketchbook, before transferring the drawing to virgin art board with a lightbox, whereas he does convention drawings on 11 x 14 Strathmore bristol, as he prefers penciling on the rougher, vellum surface rather than smooth paper, preferring smoother paper only for brush inking. He does preliminary undersketches with a lead holder, because he feels regular pencils get worn down to the nub too quickly. As he explained during a sketch demonstration at a comic book convention, during this process he uses a Sanford Turquoise 4B lead, a soft lead, though when working at home in Atlanta, where the humid weather tends to dampen the paper, he sometimes uses a B lead or 2B lead, which acts like a 4B in that environment. However, his website explains that he uses 6B lead, with some variation. For pieces rendered entirely in pencil, he employs a variety of pencil leads of varying degrees of hardness. After darkening in the construction lines that he wishes to keep, he erases the lighter ones with a kneaded eraser before rendering greater detail. For more detailed erasures, he uses a pencil-shaped white eraser, and to erase large areas, he uses a larger, hand-held white eraser, the Staedtler Mars plastic, which he calls a "thermonuclear eraser", because it "takes care of everything".Joe Quesada
Artist and former Marvel Comics editor-in-chief Joe Quesada begins with sketches much smaller than the actual size at which he will render the final drawing. He employs a Cintiq drawing tablet when he desires to do a "tighter" digital layout of an illustration. When sketching figures, he will sometimes use photographic reference, and incorporate the photos directly into his sketches during the process of finalizing a layout. Once he makes a final decision on a layout, he will then print it out at full size, and use a light box to pencil it, sometimes altering elements in the design such as lighting or other details.Bryan Hitch
begins with multiple rough sketches employing different camera angles on paper with a blue pencil, which traditionally does not photocopy or scan, and then selects the desired elements from the rough sketch with a graphite pencil. After picking the initial shapes, he will further emphasize his selections with colored pens, continuing to attempt different variations. He will then, depending on how late in the day it is, either redraw the illustration on a sheet of layout paper or use his lightbox to tighten and clean up the drawing, emphasizing that the lightbox should not be a mere exercise in tracing, but an opportunity to refine or change elements in the drawing to make it "clean" enough to be inked.When Hitch transfers the drawing to the final art board, he does initial layouts with a 2H pencil, which he feels provides the necessary accuracy and detail, and uses an erasable blue pencil to mark panel frames and vanishing points, which he introduces after the rough stage. He chooses not to put too much time or polish into this stage, preferring to work quickly, lightly and instinctively. He uses a mechanical pencil with 0.9mm 2H lead at this stage for fine outlines and detail work, and a traditional pencil for more organic work, including softer lines, shading large areas and creating more fluid motion. The "best tool of all", according to him, is a traditional pencil cut with a craft knife, which he says can produce a variety of marks, and be used for detail, shading and general sketching. Hitch believes the best results combine both the mechanical and the knife-sharpened traditional pencil.
Hitch is particular about his studio workspace, which does not contain a TV or sofa, stating that such things belong in the lounge for relaxation. Despite using a professional drawing board, he emphasizes that any inexpensive board large enough to hold the paper is sufficient, as he mostly uses a piece of roughly cut chip-board leaning on the edge of his desk. He uses an Apple iMac desktop computer, flatbed scanner and Photoshop to modify his artwork digitally.