I’ve been known to dabble in the dark arts [aka COLORING] for my own comic, The God Machine, and also for a book called, Sullengrey. Both of those projects are fully painted beasts. Meticulous in detail, everything is considered- from skin colors [i.e.- Olivey pale to convey Italian/french origins, pinky flesh to show Irish origins, brown/tan to show African/Indian origins..etc] –to mood lighting with color choices to change a scene from dread to delight. This is not work for the faint of heart! [It’ll also drive you nuts if you’re a perfectionist, too.]
Recently I’ve been recruited to lend my coloring talents to the alternate covers of Mice Templar, and even some pages in the first issue of the 4th volume of the saga.
Unlike my previous experience in coloring this was more in line with traditional coloring in comics [i.e. straightforward colors, simple shading, and a hint of texture for the background] — but the trick for me was to match the previous colorist’s style and color choices so the pages wouldn’t be too jarring. To meet deadline, Bryan JL Glass brought me in to color theses last couple of pages that Michael Oeming had done for the opening part of this chapter. Time was ticking, and I had 3 days to rise to the occasion to help my pals/colleagues out!
Now, the fortunate thing for me coming in at the last second to finish up the first set of pages in Mice Templar was that it was the end of the chapter where very dramatic/epic things were taking place, so pumping up the colors to either be more detailed or grand wasn’t going to be a problem at all. [Which, admittedly, I like to over do coloring a bit… >_>;;]
One of the pages I did must have had about 12 major mice-cast members with distinctive colors for each. To keep them on model I color sampled from previous issues of Mice Templar. It’s important to do this to keep every character looking like they should so you don’t confuse the audience as they turn the page or even read the next panel. Consistency with the background colors is also as important as staying on model. Scenes need to flow, or otherwise it can be disorienting and throw the reader off from the flow of the story. Of course characters colors will change pending on light sources [i.e. A sunset will cast oranges on the characters, where nighttime will cast blues or dark hues and all colors change accordingly, and so on~] but with a project like Mice Templar the characters colors rarely change to help the reader identify such a large cast of mice.
So, after I was done with these pages I was brought on to do the color for the B covers from issue 3 and so on! I’ll post those covers when it’s close to their release times. 🙂
Tomorrow [for Comic Wednesday] the issue with my few pages goes on sale and makes for Mice Templar’s triumphant return!
Here’s the skinny:
“A DANGEROUS FAITH”
Long ago, the valiant Templar destroyed themselves through a vicious civil war, allowing the bloodthirsty crusade of the tyrant king Icarus to destroy mouse culture. Yet the inspiring tale of the young mouse Karic promises to restore the fractured Templar and overthrow the mad king. But while some accept Karic as a prophecy for good, still others see his rising legend as an omen of evil.
Thus begins the climactic chapter in the epic saga of hope and despair, of tragedy and triumph, and where every secret will at last be revealed.
Written by Bryan J.L. Glass
Featuring art by Mike Oeming and Victor Santos
Colors by Veronica Gandini, Chandra Free and Serena Guerra
Letters by James Glass
Cover A by Oeming — Cover B by Santos and Gandini
Created by Oeming & Glass
OUT TOMORROW, April 3rd, 2013
Go forth to your local comic shop and pick it up! :3
Anyways, color- it’s hard AND important. This probably won’t be the first time I talk about color [there’s so much to say on color theory and all that rut.]
Go-go gaget “publish,”