Damn, I remember how revolutionary Spawn #1 looked thanks to Steve Oliff and you absolutely nailed this. Great breakdown and great tips. I must admit in recent years I have developed a greater appreciation for the old 4 colour printing, especially just before the photoshop era where the colorists on the X books were swinging for the fences with the tools they had.
Oh Retro, thanks for the nice video and for explaining something I was wondering about the color differences between Spawn and Spider-Man. I thought the difference in the color quality between Spawn and Spider-Man was more due to technological advancements, as well as the colorist's skill. I tend to exaggerate the time gap between Spawn and Spider-Man in my head. LOL
And the only colorist I actually looked up because I realized I liked the way the art was colored more than the art itself was Tony Aviña from The Boys. I found it interesting that he posted some videos showing the coloring process in real-time, step by step (though I'm not sure "step by step" is the right term since it's not a tutorial), going through the stages of coloring a comic.
I guess paper quality must have had something to do with it as well, maybe not so fair to compare a Dutch Spider-Man with Spawn, lol. But Spawn 1 was still not the fancy glossy paper all the comics are doing now. Still it popped, especially in the first 10 issue run I could feel the color game had changed. Thanks for the Tony Aviña tip!
@@retrosuperheroart2202 I didn't know that the original Spawn used different paper. Here in Brasil, Spawn was released in the "American format." Before that, comic books used to come in a smaller size called "formatinhos," and I suppose that the quality could be even worse than the original.
Great video and great finished page. I wonder if you’ve seen this video by Brian Haberlin, who colored Spawn starting at #41, showing the cut-and-grad style he uses (th-cam.com/video/fM7hd9TtHhU/w-d-xo.htmlsi=dFNEBpJKNdHukbp4). I think it’s a similar method to what Oliff was doing on Spawn (although of course with more limited technology) and to what Alex Sinclair does. You can see the cut-and-grad with Sinclair best, I think, over Jim Lee on Superman: For Tomorrow. (Additionally, he started his own channel a couple of months ago.)
I wish you redid your Alex Ross video. I think you did skip over a lot of his color choices he’d implement. Usually a lot of panels from War on Crime (1999), Fantastic Four, and Kingdom Come has a ton of abstract color choices. If you did get into gouache as well that’d be a plus.
lol, still practicing, but another Alex Ross video is always in the back of my mind. It does deserve a deeper dive with reference to the colors like you mentioned.
@@retrosuperheroart2202 yeah, and it’s funny to mention his two different styles. He does occasional ink work over his art, where he just used jet black gouache.
that early digital colors!
this guy walk and now we run! 😍
nice video!
The Lord of the Gradients! One Photoshop king to rule them all ;-)
Dude! This is exactly the video I’ve been needing!!! You should do more of these. Subscribed 🤘
Thanks! Sure, stay tuned!
Damn, I remember how revolutionary Spawn #1 looked thanks to Steve Oliff and you absolutely nailed this. Great breakdown and great tips. I must admit in recent years I have developed a greater appreciation for the old 4 colour printing, especially just before the photoshop era where the colorists on the X books were swinging for the fences with the tools they had.
Same here, such bold choice sometimes, like pink sky or bright yellow walls, but it all works.
I like this
Thank you!
Glynis Oliver is a really good colourist. Along with Gregory Wright. Others I can name off the top are Alex Sinclair and Brad Anderson
In you face Uncle Sam! lol Thanks I'm going to check them all out.
Please review the Marte Gracia coloring style. I really love his style.
Looking at it now, cool Iron Man, almost giving me Bill Sienkiewicz vibes.
Oh Retro, thanks for the nice video and for explaining something I was wondering about the color differences between Spawn and Spider-Man. I thought the difference in the color quality between Spawn and Spider-Man was more due to technological advancements, as well as the colorist's skill. I tend to exaggerate the time gap between Spawn and Spider-Man in my head. LOL
And the only colorist I actually looked up because I realized I liked the way the art was colored more than the art itself was Tony Aviña from The Boys. I found it interesting that he posted some videos showing the coloring process in real-time, step by step (though I'm not sure "step by step" is the right term since it's not a tutorial), going through the stages of coloring a comic.
I guess paper quality must have had something to do with it as well, maybe not so fair to compare a Dutch Spider-Man with Spawn, lol. But Spawn 1 was still not the fancy glossy paper all the comics are doing now. Still it popped, especially in the first 10 issue run I could feel the color game had changed. Thanks for the Tony Aviña tip!
@@retrosuperheroart2202 I didn't know that the original Spawn used different paper. Here in Brasil, Spawn was released in the "American format." Before that, comic books used to come in a smaller size called "formatinhos," and I suppose that the quality could be even worse than the original.
@@samuelvicenzo6181 lol, mini to roll up and put in your back pocket, like in the 1960s
Great video and great finished page. I wonder if you’ve seen this video by Brian Haberlin, who colored Spawn starting at #41, showing the cut-and-grad style he uses (th-cam.com/video/fM7hd9TtHhU/w-d-xo.htmlsi=dFNEBpJKNdHukbp4). I think it’s a similar method to what Oliff was doing on Spawn (although of course with more limited technology) and to what Alex Sinclair does. You can see the cut-and-grad with Sinclair best, I think, over Jim Lee on Superman: For Tomorrow. (Additionally, he started his own channel a couple of months ago.)
Thanks! Just checked it out. Gotta love that oldschool version of Photoshop. And found out I need to practice with motion blur instead of gaussian.
I wish you redid your Alex Ross video. I think you did skip over a lot of his color choices he’d implement. Usually a lot of panels from War on Crime (1999), Fantastic Four, and Kingdom Come has a ton of abstract color choices. If you did get into gouache as well that’d be a plus.
lol, still practicing, but another Alex Ross video is always in the back of my mind. It does deserve a deeper dive with reference to the colors like you mentioned.
@@retrosuperheroart2202 yeah, and it’s funny to mention his two different styles. He does occasional ink work over his art, where he just used jet black gouache.