'>>7131673
Yeah probably';

'>>7131673
i did a quick study on him a couple years ago while watching hockey on the couch. its obviously not at his level but for about half hour of work, learned a fair bit. if i put the 40 hours into it after properly layi g it out, i could probably reproduce to an acceptible level. its very tedious linework. the sky was done last and felt much harder to do. i thought it would be harder. id have to use ink and adjust opacity to push better values than this pigma pen quick and dirty one.';

'>>7131695
gj, makes the prospect of copying or imitating that technique on pieces less daunting.';

'>>7131749
It is an extreme time sink autistic activity. Perfect for me though ngl. I am planning to make a manga based on this style';

'>>7131673
In a recently published book, there are a few basic charcoal composition sketches, so he probably started here.

Not many people are teaching inking nowadays, and even less so will teach you something close to Booth. It's hard earned knowledge, I doubt people would share details absolutely for free.

Just take the time to study his work and you'll learn, eventually.';

'>>7131768
richard friend has videos on it. render like wrightson, some inking technique and demos, how ot use brushes, etc. he has vids on booth,b ut forget if he does the same breakdown of how to do it like he does with bernie wrightson's frankenstein plates.
Chloe Gendron has some videos on how to ink and specifically on wrightson and frazetta. maybe others.

its honestly not as complex as most try to make it out to be. its just painfully detailed and time consuming. some 1x1 squares of grass or whatever could take 4 or 5 hours by itself. most want to shit out an anime lineart in 20 mins for flavor of the month, so its hard to justify one drawing a week pace or sometimes a month+ if mapping it out/doing some 11x17 monster.';

'idk';

'>>7131673
>He also developed an unorthodox method of making detailed penciling of only a small area and completing the rendering in pen and ink on a page otherwise containing only a generalized concept of the completed picture. As he later described his procedure, “My drawings are usually somewhat involved and a completed pencil drawing to begin with would become smudged in places in the process of inking other parts. I finish a section at a time and often this will appear in the midst of white paper with penciled suggestions. This area also establishes values for the whole drawing. The starting point is usually a section showing the darkest darks, highest whites and grays…”*

From a book on his techniques. So he starts with a 3-value study, then he develops it into a detailed pencil drawing and inks it section by section. His technique and dramatic compositions come from copying Gustave Dore, and the detail in his work comes from intense studying and experience. He grew up on a farm and stayed there during the times he wasn't employed. As a kid he would do quick sketches of what he saw while outside, then practice his technique at night. All of the intricate grass and trees you see in his art are the result of knowledge. But also remember that he worked for his entire life to develop these skills.

Pic related is one of his drawings from 1903, he was 29. You can see that, even AFTER he was educated, he struggled with things early on. He had to work hard to develop the grand organized pictures he was drawing for magazines in New York.';

'>>7131807
Which book was it?';

'>>7131768
>>7131807
Here's my favorite page of the charcoal sketches. These are the kinds of drawings he would do as studies, and he intended on them being turned into full pieces (they weren't).';

'from wikipedia
>As a boy, he was determined to become an artist. He studied pictures in books and magazines, including Scribner's and Harper's. His unusual technique was the result of his having scrupulously copied magazine illustrations which he thought were pen-and-ink drawings, but were, in fact, wood engravings. As a result, this led him to developing a style of drawing composed of thousands of lines, whose careful positioning next to one another produced variations in density and shade.

I'm just beginning to discover the illustrations of the great ink artists and engravers. This sentence seems to imply that there's a fundamental difference between wood engraving and working entirely in pen and ink, but I don't understand, an engraver also has to draw every line, doesn't he? I'm sorry if this is a dumb question';

'>>7131822
This is a recent one that came out I picked up. i dont know if its the book hes talking about on his techniques or not. I havent actually read it. Just looked at the pictures.';

'>>7131822
Finally, some preliminary sketches that show how he first starts thinking of his ideas. When they aren't from life he'll draw them in pretty rough like this. These pictures are all from the new book Silent Symphony. The text, according to this site, is written by art historian Walt Reed and credited from "Pen Technique by Franklin Booth" but I can't find any record of it anywhere.

https://societyillustrators.org/award-winners/franklin-booth/

>>7131830
At this time the artist and engraver world usually be separate people, a commercial engraving was just used as a way to convert an existing image into a reproducible format. If you look at Gustave Dore's work you'll often see two signatures, his and his engraver's. To understand the difference between the two I recommend looking up a video, instead of drawing the lines freehand they'll carve them into blocks with blades that they have to push inwards, so getting a straight line is much easier.';

'>>7131830
I also thought booth did wood engraving until now';

'Gravure style';

'>>7131695
Ligma pen';

'>>7131803
I don't think Richard goes into too much details: as far as I remember, for example on Wrightson, he explains how to replicate a small portion, but there's still some road ahead to make a complete copy, let alone designing a piece from scratch.

>>7131830
You have more control with engraving when it comes to making straight lines;it's also an older form of art (than ink-as-used-by-Booth, not than ink ofc), so there must be accumulated knowledge somewhere about how to control the lines, values, etc.

>>7131832
NTA; I have this one, but don't recall reading about the penciling technique (I may not have read it all). I also vaguely remember a quote about him advising his students to generously use white ink, but can't find it back (I'd be delighted if you had).

>>7131845
>getting a straight line is much easier
Yup, but controlling the values and line direction still requires a considerable effort. A slightly wobbly line won't matter too much (nta).';

'bump (for once we have a good thread)';

'>>7131673

Obviously he found his own, very solid logical system and rules on which direction to put the strokes in. For a piece like this, it requires pencil first unless you're a superhuman.';

'>>7136511
>very solid logical system and rules on which direction to put the strokes in
I'm not sure about that. Unless you count "intuition" as falling into this category. Sometimes it just "feels good"';

'>>7131673
Just practice.';

'bump';