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Brian Miller
Byrne Robotics Member
Joined: 28 July 2004
Location: United States
Posts: 31283
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| Posted: 02 August 2010 at 8:11pm | IP Logged | 1
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Looks like the answer to your question is yes, Paulo. http://marvel.com/universe/Ms._Marvel_(Carol_Danvers) Ms. Marvel: Place of Birth
Boston, Massachusetts
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Paulo Pereira
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Joined: 24 April 2006
Posts: 15539
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| Posted: 02 August 2010 at 8:24pm | IP Logged | 2
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Huh. Far out.
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Robert Cosgrove
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Joined: 16 January 2005
Location: United States
Posts: 1710
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| Posted: 02 August 2010 at 8:48pm | IP Logged | 3
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There was a lot of bad "flat" coloring, and now there's a lot of bad computer coloring. Modern methods offer many more tools to misuse and screw up, plus the potential of seeming pretentious in a way that was not available to the simply inept colorist of old. I think there was an inherent charm to good flat color, but I enjoy the present style, when well done.
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Robert White
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Joined: 16 April 2004
Location: United States
Posts: 4560
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| Posted: 02 August 2010 at 10:45pm | IP Logged | 4
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One thing I've noticed is how an old panel or splash page will catch my eye and draw me in much faster than than the same thing colored more realistically. I think this has a lot to do with me being more interested in something further removed from the visual reality of day to day life on a subconscious level. At least with the superhero genre.
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Mike Sweeney
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Joined: 25 May 2004
Location: United States
Posts: 318
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| Posted: 03 August 2010 at 12:49am | IP Logged | 5
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I dunno "good" or "bad" but I find, on the whole, the modern pages harder to read. Harder to grasp at a quick glance, and also requiring more squinting -- literally harder to read, as it actually seems to cause me some pain.
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Flavio Sapha
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Joined: 16 April 2004
Location: Brazil
Posts: 12912
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| Posted: 03 August 2010 at 6:25am | IP Logged | 6
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Comics aesthetics peaked with World of Krypton #1 (1987).It's been downhill ever since. http://www.mycomicshop.com/search?TID=184011
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Stephen Churay
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Joined: 25 March 2009
Location: United States
Posts: 8369
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| Posted: 03 August 2010 at 11:50am | IP Logged | 7
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I agree with most everybody here about realistic computer coloring. I look at the current Captain America series as an example as to how realistic coloring can really damage a book. That's a gloomy world those heroes live in. However, I do think that there are comics that have subject matter that actually benefits from a more realistic pallet. Look at Stewart's coloring for Busiek and Nord's Conan stuff from a few years back. This is, to me, an example of realistic coloring that works. But Conan isn't Captain America.
The biggest problem with the current realistic coloring style is it seems to allow the colorist to have an artistic voice that shouldn't be there. Some months back, I posted a thread concerning a cover that John Romita Jr. did for Wizard. JRJr. had set up a cover that was to be at night, with Spider-Man's outfit as red and SOLID black. The colorist went in and turned it into a twilight scene put blue highlights in the black and even added sinue to the muscles. The colorist had actually changed the penciller's artwork and its intent. That was just one cover. How often does this happen on a daily basis?
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Derek Cavin
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Joined: 03 June 2005
Location: United States
Posts: 2403
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| Posted: 03 August 2010 at 12:37pm | IP Logged | 8
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It seems the colorist these days is the artist and that pencils and inks are merely breakdowns.
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Troy Nunis
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Joined: 16 April 2004
Location: United States
Posts: 4598
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| Posted: 03 August 2010 at 2:52pm | IP Logged | 9
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I see this as a two part situation: Computer colouring and "Realistic" colouring -- Computer colouring is just a tool, and as time moves on it's shifted from technicians who simply had a bag of tricks to more artists who have a style, for better or worse, but at least have an understanding of colour theory and the like.
"Realistic" colouring is another problem all together, at least on Super-Hero comics, in that it kills what should be a Dynamic 4-Color world and replaces it with Dull Mud. a few years back on another computer colouring thread here, there was much debate over a cover from Dan Slott's THING series, which had all kinds of problems, but the main one, was he was in a "realistic" BROWN suit/coat - simply making it a superhero world BLUE suit instantly gave it life.
Edited by Troy Nunis on 03 August 2010 at 2:53pm
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Ed Love
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Joined: 05 October 2004
Location: United States
Posts: 2712
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| Posted: 03 August 2010 at 3:38pm | IP Logged | 10
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I find modern coloring to be abysmal most of the time. This isn't new technology, it's been around for awhile and comics have been computer colored for almost 2 decades. But the last few years and the coloring and special effects have gone overboard. Instead of supplementing the art, most modern coloring jobs fight the line work for dominance. There is no subtlety to the coloring. It's not more realistic as most comics render skin tones with a full range of tones AND contrast. Working for 18 years on photos of people for a daily newspaper, the way that modern colorists color characters are what I generally spent correcting as that kind of range is very un-natural looking, and is only compounded when applied to every surface and muscle. Leafing through the last two issues of Savage Dragon hurts my eyes the coloring is so bad. Time Masters: Vanishing Point is another example. It's not as bad, but the colorist still seems to be fighting the pencils on every page to draw attention to itself and the darker midtones and shadows all but obliterate the fine line work to the point the artwork would actually look better with no color at all.
The other problem is that it seems that most modern coloring does not take into account the printing aspect (this can either be a problem of the colorist or the separater or both). I've seen many comic previews look fine on the computer screen, but the colors are way over-saturated and dark for print. This has been endemic of most of the titles from Dynamite, including the ones produced partnered with Marvel. Flesh tones come out orange, reds are almost purple, and the whole page is so dark to make reading the comic and actual difficulty. Too dark for natural lighting but if you turn up your lights the glossy paper reflects back glare. Makes me wonder if people doing the coloring and/or printing actually look at the printed product, how in the world they think they are doing a good job.
I give props to the Leonard McCoy series in that the colorist at least shows proper subtlety and doesn't overdo the dark tones and saturations although he still over paints every surface and face, fighting the line work at times for dominance in setting the level of detail for the art.
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Carmen Bernardo
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Joined: 08 August 2006
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| Posted: 03 August 2010 at 3:53pm | IP Logged | 11
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Robert, you're not the only one. For my part, I was raised on the old pallette process. What I think I liked best about it was that it tended to let the original line art stand out, rather than obscure it. Really good colorists could even enhance it to a certain extent, if they used the right effects. Your criticism of today's techniques is spot-on. I might also mention that there are too many CGI effects being added, as if the colorist is trying too hard to make the comicbook panel into a photograph.
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Ben Smith
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Joined: 01 July 2010
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Posts: 81
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| Posted: 03 August 2010 at 6:03pm | IP Logged | 12
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I look at the current Captain America series as an example as to how realistic coloring can really damage a book. That's a gloomy world those heroes live in. It was a gloomy storyline. I don't think a bright color palette would match. I think the larger question is if the old approach to coloring would match modern stories where Superboy Prime murders a bunch of superheroes, or the Sentry rips Ares in half.
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