The inker is one of the two line artists in traditional comic book production. The penciller creates a drawing, the inker outlines, finalizes, retraces this drawing by using a pencil, pen or a brush. Inking was necessary in the traditional printing process as presses could not reproduce pencilled drawings. "Inking" of text is handled by another specialist, the letterer, the application of colors by the colorist. As the last hand in the production chain before the colorist, the inker has the final word on the look of the page, can help control a story's mood and readability. A good inker can salvage shaky pencils, while a bad one can obliterate great draftsmanship and/or muddy good storytelling. While inking can involve tracing pencil lines in a literal sense, it requires interpreting the pencils, giving proper weight to the lines, correcting mistakes, making other creative choices; the look of a penciler's final art can vary enormously depending on the inker. A pencil drawing can have an infinite number of shades of grey, depending on the hardness of the graphite and the pressure applied by the artist.

By contrast, an ink line can be only solid black. Accordingly, the inker has to translate pencil shading into patterns of ink, as for example by using spaced parallel lines, feathering, or cross-hatching; some inkers will do more than interpreting the pencil markings into pen and brush strokes. An experienced inker paired with a novice penciler might be responsible for correcting anatomical or other mistakes, modifying facial expressions, or changing or improving the artwork in a variety of other ways. Alternatively, an inker may do the basic layout of the page, give the work to another artist to do more detailed pencil work, ink the page himself; the division between penciller and inker described here is most found where the penciler and inker are hired independently of each other by the publisher. Where an artist instead hires his own assistants, the roles are less structured. Neal Adams' Crusty Bunkers worked like this, with say one inker responsible for the characters' heads, another doing bodies, a third embellishing backgrounds.

The inking duo Akin & Garvey had a similar arrangement, with one inking the figures and the other the backgrounds. One can ink digitally using computers, a practice that has started to become more common as inkers learn to use powerful drawing and editing tools such as Adobe Illustrator and Photoshop, Corel Painter, Manga Studio. A graphics tablet is the most common tool used to ink digitally, use of vector-based programs precludes pixelization due to changes in resolution. However, many regard the process as more time-consuming; as of 2015 some companies put scanned pencils on an FTP site. The inker downloads them, prints them in blue, inks the pages, scans them in and loads the finished pages back on the FTP site for the company to download. While this procedure saves a company time and shipping costs, it requires artists to spend money for computer equipment. For a long time, inking was considered a minor part of the comics industry, only marginally above lettering in the pecking order. In the early days of comic books, many publishers hired "packagers" to produce entire books.

Although some "star" creators' names appeared at the beginning of each story, the publisher didn't care which artists worked on the book. Packagers instituted an assembly line style method of creating books, using top talents like Kirby to create the look and pace of the story and handing off the inking and coloring to anonymous — and low-paid — creators to finish it. Deadline pressures and a desire for consistency in the look of a feature led to having one artist pencil a feature while one or more other artists inked it. At Marvel Comics, where the pencil artist was responsible for the frame-by-frame breakdown of the story plot, an artist, skilled in story-telling would be encouraged to do as many books as possible, maximizing the number of books he could do by leaving the inking to others. By contrast, at other companies where the writer did the frame-by-frame breakdown in script form, more artists inked or lettered their own work. Joe Kubert and Jim Aparo would pencil and letter, considering the placing of word balloons as an integral part of the page, artists such as Bill Everett, Steve Ditko, Kurt Schaffenberger, Murphy Anderson, Nick Cardy always inked their own work.

Most artists, however — experienced inkers of their own work like Lou Fine, Reed Crandall, Will Eisner, Alex Toth — at times hired or allowed other artists to ink their drawings. Some artists could make more money by leaving the inking to others. Due to the absence of credits on most Golden Age comic books, many inkers of that period are forgotten. For those whose name

Something New (How I Met Your Mother)

"Something New" is the 24th and final episode of the eighth season of the CBS sitcom How I Met Your Mother, the 184th episode overall. Future Ted tells his kids that, during the spring of 2013, he was making the final adjustments to the house he bought, while Barney and Robin were preparing for their wedding; as Lily and Marshall pack their things to go to Italy, Marshall's mother calls them and Lily slips the fact that they are moving. To compensate, Marshall promises her that his son will visit her for a week. A free Lily visits Ted in MacLaren's and he shows her his finished house. Meanwhile and Robin sit in a bar and an obnoxious couple starts bothering them - not letting them look at their cigars and stealing their reserved table. Barney and Robin start planning to break them up, so Robin puts her engagement ring in one of their champagne glasses; when Krirsten, the couple's woman, finds the ring, she excitedly responds that she will marry her boyfriend, but he has no intentions of doing so.

After their break-up, Robin and Barney smoke in a park when the couple finds them. The couple say. Barney and Robin feel proud after seeing them happy; when Lily and Ted reach his house, Lily realizes that Marshall's mother is trying to convince Marshall to not go to Italy, after seeing some Facebook photos. When Lily sees a "For Sale" sign, Ted reveals that he's moving to Chicago because he cannot be around Robin after the wedding. Marshall calls Lily for a final time, saying that no matter what happens, he will move to Italy with her. After this, Marshall receives a call. Marshall realizes that he can't join Lily in Italy. Ted reveals to Lily what happened in the previous episode: he found Robin digging her old locket, when she found the empty box, she grabbed Ted's hand, since she interpreted it as a sign to not marry Barney. Ted left, he realizes that after all these years, he still feels something for Robin and would do anything to make her smile. Lily admits where the locket is: before Ted married Stella, Lily chanced upon Robin drinking away her sorrows at Ted going ahead with his wedding.

Both of them went to the park where the locket was buried and Robin found it, taking it to Ted's apartment and putting it in a race-car pencil box which she intended to take to Japan. Ted realizes he wants to give her the locket as a wedding gift. With the wedding scheduled in 56 hours, Ted moves out of his empty apartment and meets up with Lily to go to the wedding; when she asks how he's returning to the city before going to Chicago, Ted says that he'll take the train. Ranjit picks up Barney at their apartment. Marshall calls Lily and she reminds him that in a week, they'll be living in Italy; when Marshall's brother Marcus reminds him that he hasn't told her about the job, Marshall says that it is "face to face" news. During a closing montage featuring all of the main characters heading to Farhampton for the wedding, the titular "mother" is revealed to the audience for the first time, as she steps up to a counter at a Long Island Rail Station while carrying her signature yellow umbrella and bass guitar and asks for a ticket to Farhampton.

Milioti's scene was filmed on March 27, 2013. Although The Mother only says one line, the scene was filmed in secrecy, with scripts only kept on hardcopy that were destroyed, Milioti being driven to the studio late at night, members of the production staff serving as extras during the train station scene, they welcomed Milioti to the stage like "Jesus has risen", show creators Carter Bays and Craig Thomas said, with the latter describing it as "a surreal moment. It was a moment we pictured for a lot of years". Including DVR viewing, the episode was watched by 10.44 million viewers with an 18–49 rating of 4.5. Something New received acclaim. Donna Bowman of The A. V. Club gave the episode an A−. Max Nicholson of IGN scored the episode 7.5.'s Bill Kuchman described the episode as "monumental" and said that it "did a fantastic job" of keeping the show's future "under wraps", adding that the production team took a risk in casting a unknown actress as the Mother. Alan Sepinwall commented on the casting of the unknown Milioti: "So that we would have no preconceived notions about the Mother.

We didn’t spend years watching her on "Scrubs," or "The O. C." or a few months on "Good Morning, Miami." She is a blank slate, onto whom the show and its audience can project whatever qualities we feel should be in Ted Mosby’s ideal woman, without insisting that Elliott Reed or Summer Roberts or Chris Elliott’s daughter would act that way, play bass that way, etc. She is the Mother. Earlier knowledge of her is not required and maybe not preferred." "Something New" on IMDb

St Bartholomew's Church, Barbon

St Bartholomew's Church is in the village of Barbon, England. It is an active Anglican parish church in the deanery of Kendal, the archdeaconry of Westmorland and Furness, the diocese of Carlisle, its benefice is united with those of St Mary the Virgin, Kirkby Lonsdale, Holy Trinity, Casterton, St John the Divine, Hutton Roof, All Saints, Lupton, St Peter and the Holy Ghost, Middleton, to form the Kirkby Lonsdale Team Ministry. The church is recorded in the National Heritage List for England as a designated Grade II* listed building; the present church stands to the south of a former chapel of ease, in existence by 1610. This was rebuilt in 1815, but all that remains of it is a porch to the north of the present church, used as a shed. St Bartholomew's was built in 1892–93, designed by the Lancaster firm of architects, Paley and Paley; the church cost £3,000. The church is constructed with stone-slate roofs, its plan consists of a four-bay nave, two-bay north and south aisles, a south porch, a south transept, a north organ loft and vestry, a chancel.

A tower stands on the crossing. The architectural style of the church is Perpendicular expressed; the aisle windows have two or three lights, The window in the transept has two lights, that in the organ loft has three lights. There is a three-light west window, in the chancel is a five-light east window, a two-light window on the south side; the south porch is gabled with a three-centred arch, above, a niche containing a statue. On the southeast corner of the tower is a square stair turret. On the west side of the tower is a single-light window, with a clock face above it; the three-light bell openings are louvred. The parapet is embattled, on top of the tower is a pyramidal roof surmounted by a tall cross; the interior of the church is faced with ashlar stone. The two-bay arcades are carried on octagonal piers. Most of the furniture and fittings were designed by the architects, carved by local craftsmen. In the church are Royal arms of 1815; the stained glass in the west window was made in 1893 by Powell's to a design by Harrington Mann.

The glass elsewhere is by Hunt. The two-manual organ was made in 1903 by J. W. Walker. There is a ring of six bells. Five of these were cast by John Taylor of Loughborough, three of them in 1893, one in 1897, one in 1964; the sixth bell was cast in 2003 by Eijsbouts. Listed buildings in Barbon List of works by Paley and Paley Visit Cumbria Cumbrian Churches