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Hergé as an artist

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jock123
Moderator
#21 · Posted: 28 Jan 2007 18:44
A bit of further internet nosing has turned up a reference to a Gillott's Inqueduct NoG-1 Nib, so I think it would would be fair to say that the G2 mentioned in the Chronologie is a nib in the same series?
robbo
Member
#22 · Posted: 7 Apr 2010 15:12
tlaloc:
No, I actually meant the full page on page 42. That image shows levels of detail that would be hard to accomplish below A2 or so, I think. Well, hard without massive eye strain and a very steady hand.

In answer to the question what was the size of the artwork for page 42 of Destination Moon, the original ink drawing is 365x489mm (ref Chronologie d'une Oeuvre Tome 6) which is somewhat bigger than A3.

mat
jock123
Moderator
#23 · Posted: 7 Apr 2010 16:17 · Edited by: jock123
Ah, thanks for that, Mat! The final pieces are falling into place!

It has to be remarked that while as you say this is a bit larger than A3, it is also a good bit smaller that A2, so the final detail would be the dimensions of the art on the board - and my guess would be that it turns out to be the same size as pages 41 and 43, which is really what is at the heart of the question.

Given that as I said recently elsewhere the sizes of Hergé's pages wander around the A3 size without quite hitting it dead on, I wonder if he was buying his boards in large A0/A1/A2 sheets, and cutting them down? As long as they were more or less the same size, and large enough to contain the art he wanted to draw on, the actual edges of the board probably didn't matter so much.
robbo
Member
#24 · Posted: 12 Apr 2010 18:05
jock123:
It has to be remarked that while as you say this is a bit larger than A3, it is also a good bit smaller that A2, so the final detail would be the dimensions of the art on the board - and my guess would be that it turns out to be the same size as pages 41 and 43, which is really what is at the heart of the question.

I think you are probably right jock123 - page 48 is 368x526mm, page 25 is 374x515mm and the border round the outer frames varies accordingly. Of course these inked drawings were then reduced photographically to near the final album size 199x260mm, printed out and hand coloured with watercolour. Even these printed pages seem to vary, but I guess the outer frame was a set reference.

mat
BenBernardSmith
Member
#25 · Posted: 29 Aug 2018 18:15 · Edited by: Moderator
Hi all,

I've read a few Tintin art books over the years, but as far as I can recall they have never gone in depth into what tools Herge used to draw the books. I know he obviously used pencil, but beyond that, what pens did he use? Did he ink directly onto the pencilled paper or use a lightbox? And later on, how did he and his studio share the work exactly with the page, beyond Herge drawing the characters mainly, and others drawing the backgrounds? I've never seen this studied in detail, unless I'm forgetting.

Any information on this would be greatly appreciated.

Thank you!

Moderator Note: Hello, and welcome! We have touched on some of the points you ask about before, for example in this thread (to which your post has been moved).
The Happy Tintinologist Team
jock123
Moderator
#26 · Posted: 29 Aug 2018 22:29
BenBernardSmith:
Any information on this would be greatly appreciated.

It may be time to have a little round-up of what we know (or think we know!).

We know that his pen of choice (at least for some part of his career) was a dip-pen, fitted with a Joseph Gillott Inqueduct G2 nib. It took him some time to come up with the ideal combination, and it doesn't seem certain when he did so.

He usually worked on art-board, at about A3 in size, seemingly cut from larger sheets.

Initially he appears to have penciled directly onto the art-board, and then inked that - this as much a time-saving device as anything; while he did apparently do preparatory work for Tintin, and tried to work ahead, due to the pressures of doing that and editing the rest of Le Petit Vingtième, he also was known to do his two pages of Quick & Flupke in a couple of hours the afternoon of the day that they were due.

Later on, after the war, he seems to have moved on to a more structured system, producing thumbnails and roughs in pencil, felt-pen or biro, often on plain office stationery, from which he worked up more complete roughs, refining as he went.

He used a large library of cuttings he kept and maintained himself (the only other person allowed to work on the archive was his father) for reference. Additionally he himself, sometimes with other studio members, or, at others studio members on his direction, would go to a location to photograph and sketch material as specific reference - old concrete war-time coastal bunkers for the gun-emplacements in Flight 714, for example, and probably most famously, Bob De Moor's trip to the U.K. to update The Black Island.

Hope this goes some way to answering your questions - I'm sure there is more to be said, as it's a big subject!

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