![]() ![]() Yeah, the phrase we’re using is I’m revising it for “color, clarity, and continuity.” Sometimes if things aren’t clear enough, I can go in and clarify what’s going on. If he had known this would be 10 years’ work, he would’ve made a model and looked at it from different angles to get the coach consistent. ![]() A more organized artist would have made a little model. Sometimes they tend to be driving a different coach from one panel to the next. Not redraw the whole thing, but in 30 years, there have been so many things I look at and think, “that’s a mistake.” Like what coach they’re driving. I thought I’d love to go back to From Hell and do it over again. I can get a rich palette of color on the computer. I can take a cross-hatched blue sky, and make the cross-hatch blue, and then put a different blue behind it, so it’s a rich blue and not just blue with black all over it. But with the computer, I can take what used to be black ink and make it red. ![]() If you’re just coloring something in, you can’t turn something from black into red, you can only make it a reddish-black. ENTERTAINMENT WEEKLY: What’s your process been like, as you color and update From Hell?ĮDDIE CAMPBELL: I never thought it could be done before because putting colored inks on top of black-and-white artwork can only make it darker and more oppressive. ![]()
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