#MASTER COLORIST

[haircoloristmartinrodriguez]

Hair color correction

Facebook is a famous platform for many things including groups that teach and share information on hair color issues .Many hair colorist share their problems and ask for help in fixing issues regarding hair color problems sad thing is that the people that help don’t know or have any ideas about the chemicals they use know as hair color. getting a cosmetology license and having a chair in a salon…

[tomoleary]

Paul Gulacy and Pablo Marcos - Master of Kung-Fu #46 title splash page (1976) Source

The comic today

[reverseflashes]

AQUAMAN IN OCEAN MASTER'S COLORS (ART BY JOSHUA MIDDLETON, COLORS BY ME)

[mastersoftheair]

Four More Days!

[keycomicbooks]

Turtles of Grayskull #1 (2024) Tim Seeley Story, Freddie E. Williams II Artist, Andrew Dalhouse Colorist, 1st Crossover of the Teenage Mutant Ninja Turtles and Masters of the Universe 

#TurtlesofGrayskull #1 (2024) #TimSeeley Story, #FreddieEWilliams II Artist, #AndrewDalhouse Colorist, 1st Crossover of the #TeenageMutantNinjaTurtles and #MastersoftheUniverse "By the power of Grayskull…Turtle Power!" When the Teenage Mutant Ninja Turtles came across Krang and Shredder making a deal with some otherworldly 'demon-mage' named Skeletor, things got hella-weird and they ended up in ETERNIA! https://rarecomicbooks.fashionablewebs.com/Turtles%20of%20Grayskull.html  @rarecomicbooks Website Link In Bio Page If Applicable. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA #DarkHorseComics #KeyComics #ComicBooks #KeyComic #DarkHorse

[yuurei20]

I see you mention Magical Archives a lot. Is that like an official artbook? Can I get it in English somewhere?

Hello hello! Thank you so much for this question, I have been hoping to write about this for weeks 🥳

The Magical Archives Game Guide vol. 1 (full name: 『ディズニー ツイステッドワンダーランド』公式ガイド＋設定資料集 Magical Archives ) is maybe the single-most informative Twisted Wonderland resource available!

It includes a huge amount of extremely detailed information, from gameplay to the characters to early-stage development illustrations to a multi-page interview with Toboso Yana herself, only one of two that she has ever given on Twisted Wonderland.

While it may be described as an artbook it is also much, much more, and if you are only capable of purchasing one piece of Twst merchandise in your life, it is absolutely the #1 thing I would recommend.

First published in 2020 it is still available for purchase from outlets such as Square Enix's Online Store, Amazon, Rakuten, Animate and more.

It is not currently available in English, but for a brief while Aniplex USA was releasing "Player Guides" for free via social media:

These were multi-page PDFs that were, visually, quite similar to the first 1/3rd of the Magical Archives game guide, but with updated gameplay information.

These game-guide-inspired PDFs combined with how out of date the gameplay information in the original guide has since become makes me wonder if maybe there not are any plans for any official translation of the original Magical Archives :<

There has since been a second volume of the Magical Archives released (in September 2024), but it is not quite as detailed as its predecessor, including gameplay information and a huge library of game sprites but very few sketches from Yana and no interviews.

On the subject of translated art books, there actually is an official English-language book being released in December!

While its English-language title is "The Official Artbook," this is actually one of four books of a series called "Visual Books!"

Much like the magical archives the first volume is the most detailed, including pre-colored base art and the occasional messages from Yana to the colorist (re: a comment that there is no need to put any light in Rook's eyes for his labwear vignette groovy ww).

The Visual Book Series is not really comparable to the Magical Archives, consisting of pre- and post-groovy card art.

The "Design Note" might be the closest to the usual definition of "artbook," consisting of insight into event outfits worn by various characters and even including a few sketches of unused designs.

Unlike the Magical Archives, however, there are no behind-the-scenes notes such as "He has a black-hearted side, so he may laugh with a hint of that often" (about Trey) and "He has vertically-slit pupils that become round in dark places" (about Leona), which can only be found in the game guide.

There are also volumes 1 and 2 of the Art Gallery! These are collections of artwork by artists that are unaffiliated with Twisted Wonderland, depicting Twst's characters, much like Square-Enix-branded fan art (no contribution from Yana involved).

Lastly, there are the fanbooks! Contrary to their titles they do not consist of any fan-made content.

Volume 1 of the Fanbook mostly consists of character/story overview, but it also has some fascinating etymology information and exclusive interviews with several members of the voice cast!

The second fanbook focuses moreso on events, and also includes detailed recipes of Master Chef cuisine, a report on the since-concluded Twisted Wonderland Exhibition, a look into a Twst-themed hotel room in Tokyo Disneyland's Ambassador Hotel, and more.

And a third fanbook was just recently listed 🥳 (Amazon link), said to include event, card and story content from the 2nd to the 4th anniversaries.

I hope this helps! ^^

[jesncin]

Hi there!! I was wondering if you could talk a little bit about what the process of being published was like for Lunar Boy? Were there any struggles you faced trying to get it seen? Any tips for others trying to get their work published? Thank you in advance and I love your work! :)

Hullo there! Sure! Unfortunately things have changed a lot since I pitched years ago so I don't know how replicable my publishing journey is nowadays. But I'm willing to share!

So! I always knew I wanted to write for kids, but in art school we were trained to be cape comic artists. Back then (if you can believe it), making middle grade comics was considered something that would sink your career. At that point in history, American comics was trying so hard to prove "we're not for kids!" that they left a chasm in the market for children's comics. Then Raina Telgemeier's bestselling books proved there was a hungry readership of kids and suddenly the trad pub industry is excitedly picking up middle grade graphic novel pitches (ironically, including cape comics).

I was studying my Masters in the US as this was all happening, and decided to use my time in the program to generate as many middle grade pitches as possible! The first one I made was Lunar Boy, but the story was so well received that it ended up being the one we pushed forward as a pitch and develop the most across classes. On Twitter there was this event: #DVPit, which is a pitching event for marginalized authors looking to seek editor interest on their pitches but also! To get agented. In its heyday (before Melon Husk ruined everything. This event is no longer on twidder sadly. Many pitching events have ceased to happen or are on hiatus from how unusable that platform is now) it was a fantastic event. I got agented on my 2nd try of the event, and it got the industry an early look at Lunar Boy and made them excited to see it out on submission.

My agent, Britt Siess, was extremely helpful with giving us feedback on how to refine our pitch. Not only did she give us story feedback, but I was surprised also by her comics feedback- that was more nuanced than I expected (little did I know that she's a huge comics nerd). She had connections to all the editors I was interested in pitching Lunar Boy to, and we were out on submissions right as we graduated with our Masters degree (during the start of the pandemic lmao).

I already had early editor interest in Lunar Boy which I think helped a lot with getting it picked up. I've been told that it helps to meet editors in person and get chummy with them before pitching to heighten your chances, but that wasn't really the case for me. I've never met my editor (Carolina Ortiz, I love her she's amazing) in person, but she did actually reach out to me long before we went out to pitch- on a Simu Liu tweet trend of all things lmao.

(I didn't end up looking like evil boy band members in pastel clothes in the final book, I went for cultural clothes instead which I think is the more bespoke choice haha) Carolina reached out to me from this tweet and we actually talked back and forth about Lunar Boy, refining the pitch. I felt like she understood the story despite asking for big changes. I don't think she'd do something like this anymore, but I really appreciated it at the time (I wasn't even agented yet). All the editors I met in person for events like Editor's Day at school liked my art (and would even hire me for colorist work and the like) but they weren't interested in Lunar Boy. This was reflected when we finally went on submissions too.

We got a lot of rejections, vague language like "we don't know how to edit this" or "we already have a book like this" (??? press X to doubt). Compounded with all my interactions with editors in person, I felt like I was "marketable" as an artist but not as a storyteller because our stories were so unapologetically QPOC- with culturally specific queer identities to an already underrepresented identity. The editors that were interested in Lunar Boy had personal connection to the story (they were either also from blended families or QPOC themselves). But hey, you only need one yes to get a book deal. We ended up with Carolina as our editor and she's been our rock and champion for this book since the beginning. We were out of submissions in just a week (which is really fast in the industry).

My big tip for getting into the trad pub graphic novel industry is to study the market. A lot of people mistaken publishing as a vessel or platform for their untold story, when really it's a business we compromise with. Pay attention to trends, book deals, shifts in the industry, read your peers' books, everything. Research is key with getting your foot in. Lunar Boy may look like an out-there book, but at its heart it's a story about culture shock, trying to fit in, along with family and friendship problems. In trad pub especially, locking in to sellable tropes and trends is key. Find clever ways to innovate and work within those limitations at the same time. Be open to feedback and changes. I know so many people are held back from getting book deals because they're too attached to their story. It helps not to be phased by rejection and or take things personally. I've been very desensitized to talking about books like a business, since that's what it took for someone like me to make it out there.

I hope that was helpful!

[dragonshoardofworks]

Green With Envy 2024

Like I've ranted on Discord, I have so many WiPs I want to finish it's not even funny, but my ADHD brain demanded I joined this event at least with a lineart, so here it is with my Little Baby Terror [the Little Baby Man (by @tourettesdog) version of Dan]!

The inspiration for this came from these posts from @chickenlover-19 and the way Poké Balls are depicted in the manga (source: @bulbagarden /Bulbapedia).

Colorists, I made the Poké Ball purposefully blank, so y'all could be free to decorate it as you please.

Make it a Master Ball? A Dusk Ball? An original Fenton Ball? Unleash your Phantasy, I'm so eager to see what y'all come up with!

ฅ⁠^⁠•⁠ﻌ⁠•⁠^⁠ฅ

[szigetingy]

Giovanni Boldini (Italian, 1842-1931) ~ La Femme en Rouge [The Woman in Red]. – Boldini was renowned as a colorist and technician, and his works are considered very much Parisian. He had an exclusive contract with the eminent art dealer Adolphe Goupil, and for him produced small, brightly colored 18th century costume pieces that were popular with his Parisian clientele. He painted society portraits as he developed a reputation for his dazzling, elegant depictions of the fashionable women, executed with bold, fluid brushstrokes. His exuberance, vivacity and frank sensuousness won him the title of “Master of Swish.” (NégyArt, Szingy Books), Németh György Pin

[the-nysh]

VOLUME 30 COVER CAME OUT AND OH MY GOOOOOOHHHHHHHHHHHHD!!!!!

Oho yes, NOW we're talking!! Finally, it's about time for those long-anticipated Garou themed covers!

Woo woo~ very pleased Murata went for the most obvious plot relevant character event this vol (as opposed to his rather tertiary or outright random scenes lately, deliberately avoiding anything Garou-related til now, so I have to resist the urge to swipe Saitama off the page like an afterthought butting in where he doesn't belong - ahem, I'll elect to simply ignore him there) with Bang confronting his past mistakes and regrets through Garou mirroring those worst parts of himself that Bang wishes to reform in his attempt to awaken him...as Master vs Disciple, where it's the Master's responsibility to take charge and care for what he's emotionally neglected to notice about what's become of his student~ Good thematic shit right there!

Which also means that yesss we finally get to see the official color scheme for Garou's 'volcanic' form! *__* Not just red but glowing molten gold and shiny obsidian violet! (gold and violet - one of the best complementary color pairs imo!) Meaning he runs physically hotter than if the 'energy lines' were simply red~ Which happens to match the purple of his clothing up til now and even the gold of his eyes, whee~ I'm sure the colorists/fanartists will have a field day getting this long-speculated look finally confirmed.

So great stuff; both for the important character relevancy and dramatic visual presentation. I expect this cover to remain one of my favorites!

[nikkilotte]

New Year's Evil: Scarecrow.

⸻ Jonathan Crane: curiosities & theories.

The story is one of the few told through Jonathan's eyes, explaining that he can spend weeks digging into people's minds. Analyzing them. NYE describes how he acts during this progress of "sowing the seed of horror." He follows his prey, perusing them, and waits until a specific moment to "attack." Scarecrow even went one step further to keep Batman distracted from saving Becky by spraying his fear toxin on the people in the subway.

These panels reminded me of his interactions with Mr. Saint in Fear State. Obviously, he acts a little more "quirky" in this comic, but these traits are present ( are constant ). You can even catch him watching from the roof how his plans are going. Please, isn't the first time he has done that! It seems he likes to watch from above.

Now, when you think about a comic that made a fantastic work bringing back his design from BTAS, the first name that will get into your mind is Fear State ( with Jonathan Crane ). But New Year's Evil seemed to draw inspiration from his BTAS version too. The shape of his face and hairstyle are similar ( Except for his chin ), including his pointed ears and nose. The colorist kept his red hair trait, being redder in this version. And the costume design also shares some similarities to his BTAS costume. Namely, the mask and color scheme.

Another detail related to BTAS that caught my attention ( More like a personal interpretation ) is how Jonathan referred to Becky.

I'm sure you have seen this scene where he greets Harley with a "Good evening, child." Well, he referred to Becky in a similar way ( detractingly ). However, I would love to point out that it seems he calls other people "child" as a way of superiority. Considering that Harley is in her late 20s in BTAS ( Pamela is 28, according to "Pretty Poison" ), and Becky is a university student ( not a child or teenager. I will talk about this in my next post ), it could prove my point here.

Fun fact. Masters of Fear introduced his childhood backstory in 1995. This comic mentions part of the said backstory, showing an akin panel. If NYE shares a similar timeline, it could mean that Jonathan is 23 ( Read this post with some math ).

Not to excuse his villainous acts, but I will dare to say this. It fascinates me how Jonathan's heart was touched by two girls who shared his pain from his past. Plucky Becky thanked Scarecrow for showing her fears, expressing how he helped her realize how wrong her way of coping and thinking was, making Jonathan tear up a little. Let's remember that Scarecrow saw himself in Becky's fear and pain. Listening to her talk about her past could drag him to act so erratically, thinking that he had the right way of coping, excusing himself, "I'm not helping, but breaking her."

Obviously, Becky's situation was completely unintended. He wasn't looking to help her in any way at the beginning. But, curiously, this situation repeated itself in Cycle of Violence. Scarecrow kidnapped a girl to experiment with his fear toxin. This little girl, though, started to be kind to him, understanding his stutter and gifting him a drawing, trying to persuade him to let her go. Her words touched him deeply, seeing himself in this little girl's fear, remembering the torture that his own father made him go through. So then, he almost died protecting this kid from an explosion.

It could be me, but I see a clear pattern. It's interesting how Jonathan can be contradictory with his actions, and his heart can be sincerely touched when someone genuinely understands him. But he has a trauma and refuses to let it go, convinced that his way of coping ( lashing out ) is the right one. This is why I loved Becky's introduction, for being a mirror for Jonathan Crane.

[tomoleary]

Moebius' preliminary pencils for the cover of Marvel Tales #253 Source

The image works best without indicia. Morbius lurks hugely in front but we’re drawn to our hero, Spidey. He’s poised for action. Perfect composition. Loses something after inks by Sylvain Despretz, and then logo. Best to enjoy the master here, then later.

Original cover inks printing key. Inks by Sylvain Despretz. Source

Colorist unknown. Source

I keep going back to the pencils. They’re “preliminary” but something’s lost. The art of a European Bande dessinée artist lost to two headers, corner box, “special giant size issue” “50 years…” ad nauseam.

I’m thrilled that I can see these at all. I’ve seen Mona Lisa (from a distance), and Van Gogh (up close, much to the chagrin of the guard at Musée d'Orsay) but this is art in its inception. A few hours of sketch time and we’re talking about it decades later.

Moebius is special. His work rings bells in me like few others, like Bill Everett, Wally Wood. He can be vile, surreal, magical and often rude, but he’s distinctive. Rare honor for an artist at his level to guest on a reprint.

[danggirlronpa]

6, 7 and 23 of the Danganronpa asks.

6. Do you have a fan character? Tell us about them!

I...DO.............the concept is that she's class 78th's (Makoto's class) homeroom teacher. Like Chisa, she wants to encourage the class to engage in their lives as high schoolers, but unlike Chisa, she is less Nurturing Caretaker and more Serious Professor. She's the Ultimate Prosecutor, and she structures her class as a round circle debate club. The only time she softens up is when around bunnies.

The idea is that it's a ton of little stuff that can be picked apart as reasons for stuff that's unexplained later - why Junko picked the trial system (replacing fond memories of faux class trials with the despair of the true class trials), why Usami is designed as a bunny (though her personality was taken more from Chisa), etc. - so there's a lot of retroactive foreshadowing, but also a guise through which to see the THH embrace each other and grow as people. Ultimately she's more of a catalyst and perspective character than she is a person with her own arc, because I would love to explain the pregame students one day and the depth of the tragedy that is their lost memories. But Not Today. Maybe I'll draw her one day, too!

7. You get the chance to reassign five characters new talents. Who do you choose, and which new talents do they get?

YES. YESSSS.

Mukuro: Ultimate Mercenary. The wording on this just pisses me off. She was part of a mercenary company. Come on.

Akane: Ultimate Parkour Artist. Another one that just pisses me off. She calls it parkour.

Byakuya: Ultimate Butler. This is the first one where we're going off the rails a bit. Listen. I would hate Byakuya no matter what. That's just how he and I are. Destined mortal enemies. But I would hate him slightly less if his nonsense asshole snobbiness was because he served the rich instead of because he is rich. At least then I could justify it as internalized class politics. Instead of just being. Some rich guy.

Nekomaru: Ultimate Nurse. I couldn't tell you why, but "team manager" always struck me as a really weird, out-of-place talent. But between his knowledge of the body (he can do...It) and his experience as a child in the hospital, I think Nekomaru would be a great nurse!!

Tenko: Ultimate Aikido Master. You'll notice this is not a different name. But it IS a different talent. Because it's just regular aikido. Why did they decide Tenko would have her own fake aikido that wasn't as good. That was so weird. Just let her do aikido.

23. Which are your top three favorite beta designs?

I don't look at the beta designs too often, but these are the ones that stick out to me!

The Sakura art always stood out to me - though I understand why they didn't do it, considering the colorist implications becoming Even Worse. The Fuyuhiko concept art stood out to me in a different way. Look at how stupid that guy looks. Look at that chin. What a man.

I don't actually really like any of Tenko's designs, though I do like this one better than her final one. The most important part is the little snaggletooth on the right. I LOVE that. I LOVE snaggletooth Tenko. I'm obsessed with it.

[vitesse-x]

My new single + video "Realize" is out now! Stream it here.

Song Written, Recorded and Produced by Vitesse X Mixed by Jorge Elbrecht Mastered by Joe LaPorta

Video Credits Production Màn Rán Studio Director Michael Cong Cinematographer Michael Cong Production Designer gentlewomanclub Lighting Director Emmet Luciano Art Director Kanne Vee Motorcycle Rider Kat Tom Editor Michael Cong + gentlewomanclub Colorist Michael Cong Film Processing NEGATIVELAND

[ultravioart]

It's super gross how much whitewashed bullshit still occurs in Overwatch to this day. It's been 7+ YEARS, STOP DOING THIS!!!!!

This dogshit is unacceptable and who ever does management/quality checks on the art NEEDS to be fired bc how tf do you approve something like this.

This is how the skin tone should look btw:

And the new skin has Sojourn's normal skin tone, so it's not lighting make the face white in that spray. It's deliberate!!!

New Symmetra sprays also lightens her skin... smfh im tired.

I'm gathering the mental energy to do a mass edit (and a ref page for characters bc it would be nice to have a master post) but god damn it it shouldn't be up to fans to fix art and not perpetuate racist, colorist art. It's not hard to fucking use a color picker tool.

These are professional artists, they should know better than to whitewash like this.

[bclaymoore]

If forced to list my favorite artists working in comics, Jim Rugg would be high on that list. Beyond the fact that he's a multitalented designer and artist (and, no small thing, a master colorist), his ability to incorporate elements of comics' trash culture history into his work in new and inventive ways is always inspiring.