Les Beaux Étés was born as an indie road family movie and 6 books after has become my personal tribute to the classic comics I used to read and love when I was kid.
The 6th is going to be out on 2021!!
https://www.instagram.com/p/CHafnY2j1bZ/ 

As some of you are asking, this pages are made on @Procreate, like most of my work of the last two years, with only one brush, or to be specific, a few variations of the same brush.
Let's talk about INK techniques; a thread:

Let's back to late 90's-2000 when I was at @Escolajoso , where Inking was our religion. ( yes, I'm that old )
It was all about ink, brush, dip pens and paper. Not even felt pens were allowed (that came later as a trick).
The goal was to get nice and elegant lines like the masters

Dip pens were used to dirty lines and required smart moves from the wrist. Brushes were much elegant and smoothie but really difficult to control. It took me months and *literally* tears to get any decent point with them.
I used semi glossy paper to avoid any grain on the lines.

Then my lines, always closing the forms, were naturally transformed from thick to thinner, but always with an idea of ​​modulated volume in my mind.
I started to use a much thick paper, with some little grain.
We are already on 2009. That is form 'Lydie'

At that point the 90%of the work was done on brush on semi glossy paper. There was already a nice combination of straight and curve lines and some character on them, but something was missing.
( still 'Lydie' @EditionsDargaud 2010)

So I went further. My next book ( La Mondaine )was my ALL-IN. I tried everything I got. Brushes, dip pens, white gouache, much grain paper, and some crazy stuff I won't admit here. I went mentally and economically broke to find new ways. (Do not try it alone at home, kids)

At some point- I don't know if there was by fatigue or an inner expression of my character - my lines started to be open, not closing the figure. I can even tell when was first time it happened consciously; In that particular line of the boot ( on brush ).
That was something.

With some years of hard work, came the whole orchestra:
Brushes, dip pens, liquid ink, more dense ink, much more grain paper, white gouache, grattage, markers of all kinds, closed lines, open lines, straight lines smoothie curves;
When to push, when to loose, when go hard...

...and when go subtitle. Every page was like Vagner on drugs with Valkirias singing full Cleary too much; Beautiful but not honest enough.
Everything was in the ankles, the fingers, the grain on the paper and the material I had on my hands.
But again, much lack of something.

There was lack of myself.
I was broke in many ways and far from a sincere work.
So in my next book, Les Beaux Étés, I went "lazy". I HAD to do it.
I kept the grain on the paper, the very open lines, the brush for figures and markers for much of the rest of the lines." fuck it"

This time was like Vagner with a cup of coffee on a chill unplugged concert. Much easier and intime. It worked.
Organic brush, liquid ink, some markers for the details, on grain paper. That was me on 2016.
Countless hours of work on an 25 euros Ikea chair.

On that chair I got physically exhausted again. My back is a mess, guys. At some point, I was on an impasse again.
I got and Ipad Pro and @Procreate. My next book, Malgré tout, would be digital at all cost.
I took me looong weeks of work to find my brush-to-digital transition.

So here I am, guys.
I put everything I've learned on a single @Procreate brush, the " Dry Ink Brush" to be precise, with some variations to fake brush, markers and gouache on my strokes. The very laziest solution possible, no more secrets on that.

This is nothing only me did or do. There are hundreds of greats artist out here that had done similar paths in their way.
Some of them are good friends and I've shared and learned a lot from them.
No artist grows up alone;
Share your work and be kind each other.
Thank you!