At the same time, a few weeks back I got some good news--the book publisher who'd rejected my Black Flag graphic novel pitch contacted me to ask if they could publish the first half of my chapter in a new textbook they are preparing for Spring 2015. They are paying me (a pittance) and I retain all the rights--it's just the first half of my first chapter. But I was greatly encouraged by their interest.
But now I have to finalize the (very unfinished) artwork I sent them almost two years ago. One thing I'm trying to do is add "color" to this b&w comic in a way that looks period-correct (story takes place in 1981). Which for me means Ben-Day dots.
I've found some great tutorials on how to create Ben-Day dots in PhotoShop, but the trick remains getting a look that works. I've resisted doing Ben-Day on the Chubby Cheekers story, but I'm posting two examples of these different "coloring" methods and asking for comments/advice.
Many thanks T.A.G. brethren!
Marty, Following instructions (more or less) from this. -BDM
13 comments:
Are these for digital display or for print?
Are they color?
It's ironic that rabbits aren't doing it. Mrs. Bunny asked 4 questions within 2 minutes of waking up. Typical. My standing birthday and father's day presents are no-question-days.
Oh wait you said "color" a black and white story. Never mind.
The great young Henry Rollins doing packaging. That's a time bomb to get support on the project. Love the first Chubby page. It's got the kind of pop that underground cartoonist Rand Holmes used to get with his zip a tone.
Looking great.
Manga Studio does zip a tone but I've decided to drop the manga studio love. Go with creating your own zips. You could probably create a zip brush. That goes down on the grid of the page. allowing you to just brush tool your tones-colors into place.
These comments are great!
Ben, thanks for the "Ben" Day update on Chubby--but tell me, do you like that look better than the simple fields of gray? I don't think I like the Ben Day look for Chubby...and yet, the flat tones leaves something to be desired, too, doesn't it? I think it's the "edge" of the color fields meeting that upsets my eye. And I don't like a straight gradient, either--both of these problems look better when they are happening behind some line work, and therefore become a lot less noticeable. I posted this page b'cuz it is almost unique in having passages of tone-meeting-tone transitions....
Sounds like you guys both like the Ben Day look for the Black Flag story. Ellis, glad you dug the Rollins--he was so young in '81!
...and glad you found some personal resonance in the story, Ben!
I put in the benday panel as an example of what seemed like another method than what you have. It seemed like you have dots over gray instead of the dots making the gray. The Bunnies have enough going on that any fancy schmancy effect would work against it, keep them as is. It is a good idea on the Black Flag. As far as edge of color goes, on those two Black Flag panels the zippatone shapes are taking on a life of their own. But maybe that's because you're making us look at them.
I vote for flat tone as well. Don't fight or distract from your line art. Use that unity of the field that charcoal sketching in Watts class taught you.
Ben Day on Black Flag strip look good, but I prefer the smooth grays on Chubby.
I'm not crazy about the flat zones of gray. Have you considered a faux Mort Drucker/Jack Davis ink wash sort of approach? I'm very fond of that approach and I think it would suit your style well.
Fat, pale, naked, anthropomorphic rabbits in bed together talking about sex. Disturbing, yet somehow compelling.
"Oof! Don't say it--It's too terrible--in the ancient Greek sense." That line makes me laugh because it's right out of your own mouth Marty. At that moment I see you as Chubby.
Tom--Ha! I am Chubby, in so many ways...but no, this comic isn't an autobio episode--you'll see!
I love that it's got you laughing out loud!
Rick, that is an interesting idea about the ink wash...but I don't think I'll be able to do it on this one. Maybe some kind of understated digital version...? I agree, the flat coloring leaves something to be desired...I think if I can hide the edges of the color fields, I'll be OK.
Ellis, I looked at the Rand Holmes stuff--it's so cool! Some of those gus have such an interesting look--they look like they're using classic Golden Age model sheets, particularly the inking style employed--but the figures get a little wonky...which is OK 'cuz it sends the message that they are storytelling with URGENCY.
Oh yeah, I meant digital ink washes, not real ones. There are some brushes out there that can so some pretty good simulations of washes and watercolors.
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