innsmouth-looker asked: How does the whole coloring process with CHEW work, if you don't mind me asking?
Sure! I don’t mind at all! Here’s page 3 of issue 38 from start to finish.
Rob Guillory initially sends me two files - the inks and a rough approximation of where he wants shading. Usually he colors bits of the inks before he drops them on me, and I usually use those to help determine what colors things should be. Since the inks are still attached to a white background, I have to remove the white and then drop them on top of the rough darks.
After that’s taken care of, I clean up those darks, add color to them, and occasionally do a bit more detail.
Next comes flats, or the flat colors underneath everything.
Here’s the flats with the darks on top
Next comes the filters. We generally use two different types - low opacity color burn layers and, depending on the scene, low-to-medium color layers. Because CHEW uses a very harmonious color scheme, we do this to make the colors richer and pushes everything closer to a similar hue.
After that, I put highlights on the edges of things.
I’m done at this point, so then I send it to Rob. He’ll change colors that he doesn’t like, deepen the darks, add details, and do a subtle airbrush over the characters. After that, he sends it to John Layman, who adds the letters. He sends it off after that to get printed.
As you can see, on this page some of the colors got changed. Rob made the top scene more yellow by changing the color of the wall and the color of the filters. He also made the top-right corner more similar to the natural colors instead of the cibopath-vision reds that I used. He also did plenty of special effects to that panel and the one underneath it, too, including scans of pencilled shading.
So yeah. That’s pretty much what I do. It’s great fun and I have a lot of freedom color choice-wise.
Maybe one day…