In Living Color
Colorists Ryan Cody, Laura Martin, Jeromy Cox, and Steve Oliff talked about what they look for in a color portfolio, how they got into coloring, how software changed coloring, how networking with artists is more helpful than editors for getting work, what flatters do and why they are the real unsung heroes of comics. Steve talked specifically about an insane deadline crunch on a Marvel Thor Omnibus where he (or really, the team he hired) had to color 800 pages in a few months. The tight deadlines they all have the collaborative nature of the book, how they can’t get offended by changes requested to their work, how sometimes they spot and fix things an editor missed, what artists and inkers can do (and not do) to make their jobs easier, how Steve’s work on Akira was a tectonic event in coloring and how it changed everything, how Steve is currently coloring Miracle Man to give it’s a different look, Steve setting up Olyoptics and some of the talent to come from there, the benefits of working in a studio, how coloring can affect and add to storytelling – what Steve calls the silent soundtrack, how colorists are now getting more credit and even royalties on books, how important Joe Chiodo was to them, what they hate to color and how they have to accept that the colors on the printed book will not be exactly the same as on their computer screens.
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