Gunnar the Brawler coloring process.
The Coloring Process: Gunnar the Brawler, Issue 1, Page 1
- art, coloring, comic books, graphic design
As a versatile professional, one of my roles is that of a comic book colorist. Presently, I am the colorist for a fantasy adventure series titled Gunnar the Brawler, which has been created and drawn by Jubal Hester. Today, I want to guide you through the process of coloring the inaugural page of the first issue of Gunnar the Brawler, detailing each step that goes into infusing life and vibrancy into the comic’s dynamic world.
Processing the Lineart
The first step involves handling the lineart, created by Jubal Hester. This step is crucial as it sets the foundation for the coloring process. The lineart is carefully checked to ensure it fits within the bleed and margin boundaries of the comic book template. To add a unique texture, I use True Grit Texture Supply’s Debaser plugin. This tool distresses the ink slightly, giving the lineart a worn, vintage look, which is perfect for setting the tone of Gunnar the Brawler, which is heavily inspired by old Conan the Barbarian comics.
Flatting the Panels
Once the lineart is ready, the next step is to flat the panels. This means assigning a unique color to each panel. This process might seem simple, but it’s pivotal as it allows for easier selection and modification of panels later in the process. If I need to select an entire panel quickly, this step ensures I can do so with just a click.
Flatting the Planes
After the panels, I focus on the planes within each panel. This is done on a new layer, and it involves separating characters, objects, and backgrounds. Like the panels, this step simplifies the process of selecting entire characters or backgrounds later on. It’s all about creating layers of organization to streamline the coloring process.
The Flats
Next up is creating the flats on a new layer. Flats are the initial colors applied to the drawings, and they can vary. Sometimes they are close to the final colors, and other times they serve more as placeholders. This step is vital as it begins to bring the comic to life.
Base Colors
After the flats, I add the base colors on a new layer. This is where the color scheme of Gunnar the Brawler starts to truly take shape. The base colors are more refined and closer to the final hues that will be seen in the finished comic.
Rendering
With the base colors down, the actual rendering process begins. This is where the magic happens—adding depth, shadows, highlights, and texture. Rendering is what makes the characters and scenes pop out, giving them a three-dimensional look and bringing them to life.
Color Holds on Lineart
An interesting step in the process is applying color holds to the lineart. This technique involves changing the color of the lineart in specific areas, which can help to integrate the lineart more seamlessly with the colors, or to highlight certain aspects of the illustration.
Final Touches
The final stage involves applying an old comic book paper texture, giving the page an authentic, vintage feel. I also use adjustment layers for brightness and contrast to ensure the colors are just right. This stage is crucial as it sets the overall mood and feel of the comic page.
Coloring a comic book page is a meticulous and artistic process. Each step, from processing the lineart to the final post-processing, contributes to the creation of a visually captivating and engaging comic book. It is my hope that Gunnar the Brawler, with its unique color palette and vintage feel, stands as a testament to the artistry involved in comic book coloring.