Mostly it was just for the sake of the joke, but it would allow some story telling techniques that aren't available in a strictly visual comic.
Right now it's deliberately fast and rough but I've been thinking of going to brush and ink on bristol board. Currently I'm just using sheets of printer paper but I'm finding the brush pens dry out fast and often don't match, even when I buy the same brand and match the cap color. The only thing is that brush and ink is a bit slower. It'll let me do much better shading and blending but I started out with a ten page lead and I'm down to one as it is.
I'm pretty low tech in my approach. I'm just using paint to resize the drawings to 50% and crop the page a bit.
In regards to word baloons, there's a device specifically for laying out text in them that all comicbook artists used before the digitization of the artform called an Ames Guide. I still have one from my days at Kubert. I don't think they are common, but I imagine one could order one through any decent art supply store for a pittance
Plastic template for drawing guidelines for lettering from 1/16 of an inch to 2 inches in height. Calibrated in 1/32 inch increments. Features both metric and fractional calibrations. Made of durable transparent plastic.
Scanning seems to really make the colours pop out. Not always to the best effect. The brush strokes look much more pronounced in the sky than it does on the original. Oh well, learning experiences. I need to get some clear base to dilute the ink with water works okay but it causes pooling and hits a point where it's just too thin. On the other hand the white ink is almost too opaque and while that's great for touch ups it's not so good for blending and layering. I wonder if Future would work or would it be too glossy?
Clear medium is what you need, although a spot of any glycerine soap will work in a pinch. Both will slow the dry time a bit too, although medium does that better. TristramEvans might know better than me....
future or medium will break the tension but not necessarily hide all the brush strokes, and will end up creating more of a wash, like painting with watercolours, which might be what you want, but the increased translucence will give more of a "staining" effect, with the colour more intense as you move outward from where you first lay the brush down.
The trick is really in how you are using the brush. I would suggest treating it more like a tiny mop - get a pool of slightly-thinned ink and drop it on the page then guide it with the brush, held at an angle, as much as possible without touching the brush to the paper itself. You want the ink viscous enough to flow of it's own accord, but not so thin it will spead out everywhere. the trick then is blending the edges - if you start with a new pool where the last one ended, it will give more of a continuous, unbroken effect.
That's one way. Another is to apply it just like you have there, but then, after it is almost dry, going over it all with a verrry thin wash, which will tie it all together and cover up the strokes. However, while the first method requires more control or practice, the second method is more prone to mistakes, trying to control a wash over limited areas.