In response to one of the most frequently asked of questions, here’s my list of “art tools”. My apologies to those
bored with shop-talk… I pencil with any ol’ HB pencil — these “Berol Turquoise” will do. Erasing courtesy of
“Staedtler Mars Plastic”. The text lettering in the balloons is casually dashed off with a .05 or .08 MICRON felt-tip.
For inking, I dunk a watercolor brush in a well of India ink – the old fashioned way. SPEEDBALL “Super Black” makes
me happy with its soulful darkness. CHUNKY RICE and BLANKETS were inked up with these cheap Winsor Newton
Cotman III number twos — a synthetic/sable blend. With my new book, Farel Dalrymple turned me on to this
upgrade brush — the Raphael series 8404 size number four. It’s quadruple the price, but it’s debatable if my line
has improved at all. While on the go, the Pentel “pocket-brush” is certainly handy. Another frequently asked question;
“How do you get that dry-brush effect?” Answer: Vellum finish bristol paper. Its toothiness combined with an abused brush
caked up with gunky ink.
The dimensions of my pages has fluctuated plenty. The live art area of CHUNKY RICE is 10.5″x14″ reduced for print a whoppin’ 48%. That’s admittedly too much shrinkage. While all the details are sharpened in the reduction, some of the integrity of the original is lost. The Pantheon edition of the book is smaller than the Top Shelf one, but the details are sharper, because I finally scanned the pages at 1200dpi from the original art. The older edition was simply 600dpi scans from Kinko’s photocopies! BLANKETS is drawn far smaller and reduced less — 7″x11.25″ / 70%. HABIBI is in-between; 8.75″x12.5% reduced 63%. (Sorry, this isn’t metric!)
One last goody. On this page of BLANKETS, you can see a paste-up correction. Just a slice
of typing paper glued atop the bristol.