Panel from CHEW 20.
Tuesday, August 2, 2011
Wednesday, July 27, 2011
Yep.
My wall of Awesome. And Voltron protects them all.
For those who haven't heard, CHEW won the 2011 Eisner for Best Continuing Series last weekend. And that's pretty stinkin' awesome. Thanks to all you fans, creators and retailers that made this possible. You guys are awesome.
And YES, I know the blog's been pretty damn barren as of late. What can I say? Between having a kid and keeping an (almost) monthly comic schedule, things have been busy. A lot's happened in the last year, and I've sucked at covering all of it. So I've dedicated myself to posting more regularly from here on. Seriously this time. SERIOUSLY.
See ya tomorrow. (seriously).
-Rob!
Friday, December 3, 2010
Process Junkie: Coloring CHEW.
Alright, due to the positive response of my inking process post, I've decided to go forth with this short tutorial, outlining a bit of how I digitally color CHEW.
First, a Disclaimer. I am not a "Tech" guy. I have had several conversations with professional comic colorists, and they pretty much always degrade into me staring blankly at them while they talk about Photoshop Channels or whatever other crap that I have no idea how to use properly. Look, I took ONE Photoshop class in college, and it taught me NOTHING. What I've learned over the past decade of using the program is a cobbled-together mess of "Things I need to know to achieve the look I want." Truthfully, I have scratched just the surface of Photoshop's power, and I know how to do one or two things in it well. But I've dedicated my life to exploiting those one or two things until the day I die.
Step 1: Scanning!
First up, I scan in the finished inks at 1200dpi in B&W Lineart mode. It's crisp and the red graphite I pencil in doesn't show up on the scans. I use studiomate Kody Chamberlain's Epson 15000 scanner, and it's got the best scans I've ever seen. From there, I convert it to GreyScale mode, then CMYK mode, then drop the resolution to 600dpi. I drop the lineart into a pre-made template, then size it down to about 6.875 x 10.187. From there, I'm ready to go.
Step 2: Rough Shadows!
Next up, I'll roughly draw the shadows for the page. This is mostly an informative step, since I have a color assistant, S. Steven Struble to fill in color separations and clean up shadow work according to my guides. Also, I do this because I am ANAL. Several comic friends rib me for not just contracting all my color work away, but hey, doing it myself makes the finished product that much more rewarding to me. Maybe one day, after I have sufficiently worked myself to death, I'll stop coloring.
Anyway, below is the "rough shadow" layer without lineart.
Step 3: Separations!
Thank God for my color assistant, because I hate this stage. Struble goes into the lineart, and basically lays out the foundation that I will be building the rest of the color on top of. For major characters, he works from color guides I provide him with. For everything else, I generally just let him do whatever and change the color choices when I get around to it. Struble's contribution has been totally invaluable to the book's workflow, and we could never keep it coming out at this pace without him.
Step 4: Shadows!
Next, I drop Struble's flats into the lineart. I tweak the color choices, generally leaning toward more subtle colors. Then, I tweak the rough shadows, adding a darker shadow layer for extra depth. It's mostly detail work, really.
Also, I brush over some of the black lineart, turning it into color, for more depth and a fun touch. Note the green bubbles floating around Drunken Colby, as well as the backgrounds in Panels 2-3. Turning the background lineart a different color is an easy way to separate background from foreground. Easy, but I like it.
Step 5: Harmony!
An easy step. I drop in a couple Photoshop filters for color harmony. Generally, I have one Color Layer at low opacity and a Burn layer just to darken things a bit.
Step 6: Gradients!
Another shadow and lighting step. Using the digital airbrush I add gradual lights and darks. One Multiply layer for darks. One Overlay layer for lights.
Step 7: Highlights and Texture!
I drop in a texture layer in Multiply, just for a nice non-uniform feel. I have a crapload of textures, everything from sidewalk cracks to grease stains. All totally invaluable. Again, I lean on the side of using them in a subtle fashion.
Plus, I draw in the Highlights in an Overlay layer. Two depths of lighting: A bright white for brightest points, a grayer white for not-so-bright spots. Again, gives the feeling of a nice depth that probably only I can appreciate. Did I mention that I'm ANAL?
Step 8: Vivid Glow and Effects!
Last step. This is literally polishing the page. I drop in a Vivid Glow onto Panel 1, just to simulate the sunny day feeling I'm wanting. Plus, I also airbrush in some Vivid highlights onto the windows, metallic substances, etc... Just a little extra something. I drop in a red color layer over Colby's red eye, just for a nice glow. Plus, I drop in a Zip dot texture into the background of Panels 4-5, just to busy the space a bit more. From there, I save the file as a Tiff at 600dpi, and I'm done!
And FYI, in the end I generally have no more than 20 Photoshop layers for a standard page.
Here's hoping this wasn't too mind-numbing and at least partially informative. My best advice: Just experiment. Try some stuff and see what you come up with. There's no better substitute for getting your hands dirty.
-Rob
First, a Disclaimer. I am not a "Tech" guy. I have had several conversations with professional comic colorists, and they pretty much always degrade into me staring blankly at them while they talk about Photoshop Channels or whatever other crap that I have no idea how to use properly. Look, I took ONE Photoshop class in college, and it taught me NOTHING. What I've learned over the past decade of using the program is a cobbled-together mess of "Things I need to know to achieve the look I want." Truthfully, I have scratched just the surface of Photoshop's power, and I know how to do one or two things in it well. But I've dedicated my life to exploiting those one or two things until the day I die.
Step 1: Scanning!
First up, I scan in the finished inks at 1200dpi in B&W Lineart mode. It's crisp and the red graphite I pencil in doesn't show up on the scans. I use studiomate Kody Chamberlain's Epson 15000 scanner, and it's got the best scans I've ever seen. From there, I convert it to GreyScale mode, then CMYK mode, then drop the resolution to 600dpi. I drop the lineart into a pre-made template, then size it down to about 6.875 x 10.187. From there, I'm ready to go.
Step 2: Rough Shadows!
Next up, I'll roughly draw the shadows for the page. This is mostly an informative step, since I have a color assistant, S. Steven Struble to fill in color separations and clean up shadow work according to my guides. Also, I do this because I am ANAL. Several comic friends rib me for not just contracting all my color work away, but hey, doing it myself makes the finished product that much more rewarding to me. Maybe one day, after I have sufficiently worked myself to death, I'll stop coloring.
Anyway, below is the "rough shadow" layer without lineart.
Step 3: Separations!
Thank God for my color assistant, because I hate this stage. Struble goes into the lineart, and basically lays out the foundation that I will be building the rest of the color on top of. For major characters, he works from color guides I provide him with. For everything else, I generally just let him do whatever and change the color choices when I get around to it. Struble's contribution has been totally invaluable to the book's workflow, and we could never keep it coming out at this pace without him.
Step 4: Shadows!
Next, I drop Struble's flats into the lineart. I tweak the color choices, generally leaning toward more subtle colors. Then, I tweak the rough shadows, adding a darker shadow layer for extra depth. It's mostly detail work, really.
Also, I brush over some of the black lineart, turning it into color, for more depth and a fun touch. Note the green bubbles floating around Drunken Colby, as well as the backgrounds in Panels 2-3. Turning the background lineart a different color is an easy way to separate background from foreground. Easy, but I like it.
Step 5: Harmony!
An easy step. I drop in a couple Photoshop filters for color harmony. Generally, I have one Color Layer at low opacity and a Burn layer just to darken things a bit.
Step 6: Gradients!
Another shadow and lighting step. Using the digital airbrush I add gradual lights and darks. One Multiply layer for darks. One Overlay layer for lights.
Step 7: Highlights and Texture!
I drop in a texture layer in Multiply, just for a nice non-uniform feel. I have a crapload of textures, everything from sidewalk cracks to grease stains. All totally invaluable. Again, I lean on the side of using them in a subtle fashion.
Plus, I draw in the Highlights in an Overlay layer. Two depths of lighting: A bright white for brightest points, a grayer white for not-so-bright spots. Again, gives the feeling of a nice depth that probably only I can appreciate. Did I mention that I'm ANAL?
Step 8: Vivid Glow and Effects!
Last step. This is literally polishing the page. I drop in a Vivid Glow onto Panel 1, just to simulate the sunny day feeling I'm wanting. Plus, I also airbrush in some Vivid highlights onto the windows, metallic substances, etc... Just a little extra something. I drop in a red color layer over Colby's red eye, just for a nice glow. Plus, I drop in a Zip dot texture into the background of Panels 4-5, just to busy the space a bit more. From there, I save the file as a Tiff at 600dpi, and I'm done!
And FYI, in the end I generally have no more than 20 Photoshop layers for a standard page.
Here's hoping this wasn't too mind-numbing and at least partially informative. My best advice: Just experiment. Try some stuff and see what you come up with. There's no better substitute for getting your hands dirty.
-Rob
Thursday, November 4, 2010
Process Junkie.
Alright, people have been bugging me for what seems like forever to do a walk-through my process for doing a page of CHEW. Of course, being busy (and a bit lazy), I've been ignoring said requests until now. Short, sweet and simple, here's the making of a page of CHEW.
Please excuse the crappiness of my photos. I don't have the will to actually scan in each stage. Told you: LAZY.
10:30am: Thumbnail.
Step 1 is actually reading the script a few times, but for the sake of boredom, I'll skip to the thumbnail. Above is a reeeeally quick thumbnail of our page. I tend to focus more on mass, layout and pacing than much detail. It's not much, but it's all I need to get started.
11:00am: Rough Pencils
Next, I work up a quick, very rough layout of the page. I pencil using red graphite, because I find blueline's too waxy to ink on top of. Red's easier to see, plus it won't show up on a scanner. And it kinda looks cool under the finished inks. Again, focusing on layout and mass, but starting to flesh out character acting. I try to do these as quickly as possible, because Morning Rob tends to need a warm-up like a car in winter. I attack the blank page before it can intimidate me, really. These take, maybe, a few minutes.
11:15 to 1:00pm: Detailed Pencils
Now, onto the details. One panel at a time, I flesh it out, generally starting from the last panel, working backwards. I'm weird like that. I spend more time on body language and facial expressions than anything. As simple as they look, I agonize over the nuances of them.
Pencil Details: Click to embiggen!
1:oo-2:15pm: Fine Line Inks.
I think this might be the most important step of my process, mentally. This is the point where I commit to the page. Right or wrong, there's no turning back. Unless I f*ck up and have to use white-out, but that's rare. I tend to draw a lot with the pen, adding details without ever penciling them. Fairly improvisational. It's all cake from here.
More details:
2:30-5:30ish: Line Variation and Blacks
This is the part where I get to put a movie on and shut my brain off a bit. Simple stage. Adding thickness and variation to the fine lines, adding patches of shadow, etc... I usually add easter eggs and background jokes at this stage, mostly out of delirium.
And that's kinda it. Maybe one day I'll walk you through the Photoshop stage. Maaaaybe.
Peace,
Rob!
Please excuse the crappiness of my photos. I don't have the will to actually scan in each stage. Told you: LAZY.
10:30am: Thumbnail.
Step 1 is actually reading the script a few times, but for the sake of boredom, I'll skip to the thumbnail. Above is a reeeeally quick thumbnail of our page. I tend to focus more on mass, layout and pacing than much detail. It's not much, but it's all I need to get started.
11:00am: Rough Pencils
Next, I work up a quick, very rough layout of the page. I pencil using red graphite, because I find blueline's too waxy to ink on top of. Red's easier to see, plus it won't show up on a scanner. And it kinda looks cool under the finished inks. Again, focusing on layout and mass, but starting to flesh out character acting. I try to do these as quickly as possible, because Morning Rob tends to need a warm-up like a car in winter. I attack the blank page before it can intimidate me, really. These take, maybe, a few minutes.
11:15 to 1:00pm: Detailed Pencils
Now, onto the details. One panel at a time, I flesh it out, generally starting from the last panel, working backwards. I'm weird like that. I spend more time on body language and facial expressions than anything. As simple as they look, I agonize over the nuances of them.
Pencil Details: Click to embiggen!
1:oo-2:15pm: Fine Line Inks.
I think this might be the most important step of my process, mentally. This is the point where I commit to the page. Right or wrong, there's no turning back. Unless I f*ck up and have to use white-out, but that's rare. I tend to draw a lot with the pen, adding details without ever penciling them. Fairly improvisational. It's all cake from here.
More details:
2:30-5:30ish: Line Variation and Blacks
This is the part where I get to put a movie on and shut my brain off a bit. Simple stage. Adding thickness and variation to the fine lines, adding patches of shadow, etc... I usually add easter eggs and background jokes at this stage, mostly out of delirium.
And that's kinda it. Maybe one day I'll walk you through the Photoshop stage. Maaaaybe.
Peace,
Rob!
Thursday, October 21, 2010
Thursday, July 29, 2010
Post SDCC 2010.
My first shiny prize.
So, being that I've only posted a whopping 2 times in the last year, I figured it was time for a real update. The last year, not the mention the last week, has been one bit of madness on top of more madness. All in a good way.
1) CHEW wins the EISNER Award for Best New Series:
Complete and utter lunacy. Not to mention that the awards were presented to us by the great Dave Gibbons. Fitting, as I studied Gibbons' work on Watchmen for ideas on how to build the world of CHEW visually. A surreal experience, and an incredible honor. John and I have put a lot of hard work into making CHEW a consistently entertaining read, so it's great to have it pay off with the comic industry's most prestigious award. Thanks to everyone that supported our weird little endeavor.
2) CHEW in Early Development for TV:
It's true. And so far Stephen Hopkins (Californication, 24) is attached to direct and produce it. Exciting, but I won't allow myself to smile about it until 1) I see it on TV, 2) It's GOOD and 3) The check clears. Maybe a lot to ask for, but I'd rather aim for excellence than mediocrity. Either way, things are looking good.
3) CHEW in Morgan Spurlock Comic Con Documentary:
Weird, but Layman ended up as a "character" in this thing. I ended up being his awkward, but incredibly handsome partner. Actually worked for me, as I hate being on camera. The camera crew managed to get all sorts of SDCC goodies on film, including our Eisner win. Should be a great time capsule.
4) CHEW/Threadless Contest Announced:
Yep, submit your best comic-related shirt design. If you win, your design will appear on a major character in CHEW #15. Lose, and Layman gets to pummel you to death with his Eisner. We'll be judging this personally.
5) CBR Interview on a Yacht Online:
We got limited edition CBR kazoos!
6) We got HARVEY Nominations:
One for Best New Series and I got one for Best New Talent. Honored to be nommed, of course. And of course, I wouldn't mind winning. Won't be able to make it to the ceremony due to a signing that same night.
7) CHEW Shirts:
The first CHEW apparel, featuring Poyo (below), was debuted at SDCC, and is available online. $20 plus shipping. Printed on American Apparel shirts, these are comfy and high quality. Expect more designs shortly. Email chewcomicsales@gmail.com to order.
And I guess that's it for now. Back to the grind. Below is an unreleased bit of CHEW art, created for the Image Comics SDCC Exclusive 2010 Yearbook. Enjoy, and see ya later.
Peace,
Rob!
Thursday, June 3, 2010
Check-in 2010.
Damn, I've reeeeally been slacking on the blog-updating side of things.
But hey, it's been a crazy 2010. Went to Italy (as pictured above) for the release of CHEW's Italian version and enjoyed fine wines, fine cuisine and a much-needed nap. I also finished CHEW's second story arc, "International Flavor", and am knee-deep into the book's third arc, "Just Desserts". And even made time to impregnate my lovely wife April. Life is good...
Here's what's new:
1) CHEW #11 will be released on June 9, along with the CHEW Vol.2 trade paperback (both pictured below).
2) CHEW Omnivore Edition Vol.1 due out on July 21. Hardcover goodness collecting the first 10 issues of the book, along with tons of sketches and exclusive goodies.
3) CHEW nominated for an Eisner Award (Best New Series) and 2 Eagle Awards nominations (Favourite American Colour Comic and Favourite New Comic). Hells yeah. Pretty damn flattering to be nominated, but I must admit that I want these shiny prizes.
I'm looking to post a more extensive blog post later, but for now, here's a look at future CHEW covers (including a cryptic peek at the top secret CHEW 15 cover).
Peace,
Rob
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