Virgil Finlay is recognized as one of the best science fiction illustrators of the pulp era. His eye-catching designs and allegorical subject matter are unique within the genre.
I've been very surprised recently to discover -- via seeing Finlay originals online -- that some of his work I always assumed to be on white/uninked scratchboard was created on plain papers using pen with WHITE ink.
Yes, you do see that as well. I have seen original pulp art by other artists where ghosts or ghostly figures are handled that way. I still use that same type of white ink in my pen & ink work for corrections or to highlight certain areas in reverse drawing similar to the look of scratchboard but actually pen & ink. The white ink is very dense and the type I've used for years is by Daler Rowney and is called "Pro White". Also, he was probably using coated paper for his ink illustration work. Many of the pro papers of the day were clay-coated so you could scratch them. Or, they were a linen-backed smooth surfaced heavy paper. I still have a roll of that great stuff! The old illustration papers are long gone, unfortunately. I've used some of them and they were sweet surfaces for inking. Very sad to lose them.
Wasn't aware of there being that many clay-coated papers "back in the day". Lots of textured paper, though: rough surfaced illustration boards, and all the various coquille papers. I've used Pro-White in the past, but these days have been using simple Higgins White.
You're an illustrator, too! How great. It's nice to talk to someone who knows the field. Did you ever get the chance to use Video paper? It was great for carbon dust and delicate pencil work, not to mention inks. I do miss the range of coquille papers, I've been trying for years to find something other than Bee Paper with the one pattern.
Never heard of Video paper. I have tons of Bee stipple -- though it's not really a "stipple" paper but the old fine "shell" pattern of coquille paper. I have piles of coquile papers I accumulated over the decades in several patterns. I've experimented with textured papers, rough watercolor papers, etc. Even matboard with textured surfaces.
Right, I know that about the Bee stipple. I have tons of it, too. It's currently the only game in town. You are a lucky fellow to have all that coquille paper. It's extinct now.
I have used the old pen & ink and waxy crayon/litho crayon/China marker technique for decades. I still love it as an illustration style. I, too, have experimented with putting coarse watercolor paper under a thinner, smooth-surfaced paper to get textured effects. It doesn't always work super-well, but is okay for certain effects.
I generally use ink and Prismacolor black pencil for that effect. I just use the watercolor paper itself, plus some rough surface illustration and multi-media papers. Always experimenting.
I've been very surprised recently to discover -- via seeing Finlay originals online -- that some of his work I always assumed to be on white/uninked scratchboard was created on plain papers using pen with WHITE ink.
Yes, you do see that as well. I have seen original pulp art by other artists where ghosts or ghostly figures are handled that way. I still use that same type of white ink in my pen & ink work for corrections or to highlight certain areas in reverse drawing similar to the look of scratchboard but actually pen & ink. The white ink is very dense and the type I've used for years is by Daler Rowney and is called "Pro White". Also, he was probably using coated paper for his ink illustration work. Many of the pro papers of the day were clay-coated so you could scratch them. Or, they were a linen-backed smooth surfaced heavy paper. I still have a roll of that great stuff! The old illustration papers are long gone, unfortunately. I've used some of them and they were sweet surfaces for inking. Very sad to lose them.
Wasn't aware of there being that many clay-coated papers "back in the day". Lots of textured paper, though: rough surfaced illustration boards, and all the various coquille papers. I've used Pro-White in the past, but these days have been using simple Higgins White.
You're an illustrator, too! How great. It's nice to talk to someone who knows the field. Did you ever get the chance to use Video paper? It was great for carbon dust and delicate pencil work, not to mention inks. I do miss the range of coquille papers, I've been trying for years to find something other than Bee Paper with the one pattern.
Never heard of Video paper. I have tons of Bee stipple -- though it's not really a "stipple" paper but the old fine "shell" pattern of coquille paper. I have piles of coquile papers I accumulated over the decades in several patterns. I've experimented with textured papers, rough watercolor papers, etc. Even matboard with textured surfaces.
Right, I know that about the Bee stipple. I have tons of it, too. It's currently the only game in town. You are a lucky fellow to have all that coquille paper. It's extinct now.
I have used the old pen & ink and waxy crayon/litho crayon/China marker technique for decades. I still love it as an illustration style. I, too, have experimented with putting coarse watercolor paper under a thinner, smooth-surfaced paper to get textured effects. It doesn't always work super-well, but is okay for certain effects.
I generally use ink and Prismacolor black pencil for that effect. I just use the watercolor paper itself, plus some rough surface illustration and multi-media papers. Always experimenting.