The three main pencils consist of the regular Lead pencil, the rough Layout pencil, and the more refined Mechapencil for a tight line.
The Blueline pencil’s only special calling is that it’s persistently blue. If you like even your digital underdrawings to be blue, you don’t have to fumble with the color picker. Because this pencil’s already blue. Bluer than the deep blue sea. Bluer than a blue meanie wearing a blue sweater under a blue sky playing the blues. It’s blue!
Following that is the Quicksilver pencil, which provides a crystal smooth line, and a Comedy Prop pencil for big, stupid, fumbly lines.
The wonderful watercolor pencil is the closest thing to legitimate painting in Mojo MOO.
The amount of water you add to the watercolor pencil is determined by pressure.
Crayon, for the kid in you, and Grease pencil , for the malignant, unshaven art student in you.
Oneraser is configured to be an all-purpose eraser. Wipe lightly for a large, soft kneaded eraser, use pressure for a smaller, harder edged erasure.
The idea is to free you from the distraction of switching presets in the middle of a drawing session. The eraser is configured to handle a range of actions, so set it to the eraser end of your stylus for constant access.
Use the eraser as an alternative to repeatedly hitting undo.
Obliterator is meant for huge wipes without destroying the entire page. Use this as an alternative to nuking the entire layer with delete.
OKnife is not an eraser of course, but a knife. Etch a shape to cut areas. Use this with prep art, inks, and post-production effects like zip tone.
Bitmap and Bitmap Greedy convert fuzzy, anti-aliased art into print-ready black and white.
Many of the tones in the Ink bundle are designed to be at their best in pure black and white, pure bitmap, but the pressure variance still leaves anti-aliasing junk that should be stripped for printing. This can be done through batch processing, of course, but in some instances you might want to take more care and make sure that you’ll get the results you want.
Let’s blow that up by 250% so you can see what’s happening.
The Bubbler stamp in the bottom corner lets us demonstrate the use of Bitmap Greedy. Because of pressure variance, there are two bubbles equal in size, but one stamped lighter than the other. Apart from simply doing the bubbles over until they are perfect, you can use Bitmap Greedy in order to capture more of the tone to bitmap.
Parenthetically, another ink tool can be used to spray away some of the tone, to make the bubbles more even.
If you plan to publish your comics digitally and in print, you should probably consider optimizing your pages for print. When working high-res, this bitmapping will not be too much of an issue when your art is properly processed for digital display. Pictured below, the bitmapping at original size, then reduced to 50%.
Desaturate and strip
Desaturate eliminates bright colors. Strip White and Strip Black can be used for cleanup.
As shown below, you can blue line your rough drawing and finish it with ink literally on the same layer, then swipe the blue line away with Desaturate.
Why would you do this? In the end this is your process, not mine; I’m simply providing tools for possible techniques. You might want the discipline of not being overly reliant on layers; you may be doing deadline art in a hurry; your art file might already have too many layers and you’re trying to save resources. It’s not my decision to tell you not to draw everything on one layer.
The Gutter Cutter is a tool for a very specific task, using the Layer Styles control to create panel borders. Create a large white bock on a layer above your art, and use Styles to stroke the shape, creating a border around it. You can then simply draw the gutters into the page, preferably combining Gutter Cutter with the line tool. This is an extremely effective method of creating the panel layout, but unfortunately Styles are a resource hog.
Gutter Wide and Gutter Narrow also require a particular arrangement. It’s a little more complicated, but once set up allows you the same flexibility without causing as much stress on your PC.
For these brushes, create a border box around your page, then use the fill tool to fill the outside margin with white. You can then use these gutter brushes with the line tool to draw gutters within the empty window.
I’ll get into more detail on how to do this on a separate page just on creating the panel borders, using these and other methods.
Converting colors can be useful for operations within one layer. Here’s a drawing with lead (gray) and blue line. The blue line can be converted to lead line with Make Black, and lead lines can be converted to blue with Make Blue. Complete reversal with Make Negative.
Not to be confused with rotating an entire layer, the Spin brushes can twist around specific areas for creative distortion. These can be used to spice up patterns and stamps.
The following pattern, created with the Ink bundle’s Spangled brush, was spun right and left in several places to create a wavy effect, then hit with the Bitmap brush to eliminate the subsequent blurriness.
Miscellaneous tools that might be useful in marking up your working files (or not). An emulation of a ballpoint pen, a ballpoint pen with pretty magic ink, and some highlighters in a range of preset colors.