Things To Do With Pokemon Plushies

But as it gets ...

... to a color like that of 100 souls?

Apart from the theoretical discourse on the physics of light, simultaneous contrast, the properties of color, etc. ..., we start first, as I said from the beginning, the volumetric yield.

table taken from "100 souls" Ed Delcourt, Screenplay: Alex Crippa, Drawings: Alfio Buscaglia, Color: Emanuele Tenderini

I have to admit, when I started this job I had a bit 'anxious, because I believed that he could not handle the "space" that left me Alfio available.

In this table, as we see, that is the version that came to me to be colored, the whole discourse on the area is left to the color. WRONG! The chance to work with a master Buscaglia is the fact that being a good designer, the construction of its figures and its interior is based on a very precise three-dimensional rendering. It matters little if the final result is a clear line, net to blacks, to blacks dashed or another, the point is that with his mark he already manages to create shapes with their strength and their volume (it would be nice to see which pencil, Alfio , has built its board).

However in this type of table is already there, shape, volume, depth, light. To be able to see this "everything", just go for small steps, and in fact, what color should do after opening the file is not immediately jump on color, but ...

table taken from "100 souls" Ed Delcourt, Screenplay: Alex Crippa, Drawings: Alfio Buscaglia, Color: Emanuele Tenderini

study the volumes in pencil. This study

pencil allows me to first define where the light sources are located and what kind of light sources are (in this table have specific sources of artificial light). The positioning of light sources will go on to determine the volumes that result therefrom, on the figures and their environments, whereas their shadows (those that each object or figure reflects on itself) and the Shadows (those that each object or figure reflects on other objects or pictures).

It is at this stage that we can speak of virtuosity, because here the color takes over the discourse of a draftsman, and make it his own, adding those cuts of light, which enrich the scene, completing the story from the point of view "emotional". More than a colorist has the ability to observe and measure reality, and phenomena that govern it, most will find, in such scenes, as will arouse the reader's interest, even from a purely technical point of view.

But this method does not stretch the development time of a table?

On the contrary, become shorter. Analytically separating the study phase of the volumes from the phase of coloring, you have the "time" to focus on multiple items to be developed (an initial step, in fact, the play of shadows and light cuts, a second step, the temperature and depth of color), without going to trial and error, without improvising, but talking about every little detail. E 'at this stage that if we want, we can decide on the balance of the board, or their disharmony and always keeping an eye on this study, the final staining step, we "just" enjoy the pleasure of playing with colors, stronger than a "skeleton volumetric sorreggerà just built us in all our color choices.

Finally, this step represents a true "bridge" between design and color, which makes it possible to color (in this case appears dissociated from the designer) to understand the sign of the designer and adapt to his style , to better integrate the two components that create the final result.

table taken from "100 souls" Ed Delcourt, Screenplay: Alex Crippa, Drawings: Alfio Buscaglia, Color: Emanuele Tenderini