TMNT/USAGI 5 Covers Process 3/3: Colors

 For the past two weeks I've been sharing the process for creating my 5 adjoining covers for the TMNT/Usagi WhereWhen crossover miniseries. I've covered the pencils/layouts and the inks. Today I'm sharing the coloring process. Above you can see the finished colored and assembled covers. Below I'll walk through a bit of the process.

With the inked covers all digitally reassembled, I started the first part of digital coloring called 'flatting' where you are adding flat colors to establish all the color areas in the piece.

This is a professional version of coloring-inside-the-lines to establish the colors for the piece, but also to make it easy to isolate and grab those color areas again and again as I do the rendering. At this step I also added in the color holds (areas where I wanted the line-art to be a color other than black) to Usagi's scar, Tomoe & WhereWhen's pupils, and all the sword blade lines, as well as some of the debris I decided was further back.

To start the final colors in Photoshop CS5, I needed to add shading, highlights, and texture. To do this, I rendered all the covers like one big piece using the Dodge and Burn tools while using a stock Photoshop Brush. Dodge and Burn are tools carried over from Photoshop being a photo retouching tool and are terms for purposefully over or under exposing areas of photographs in a dark room.

More simply Burn darkens whatever values/colors are there, and Dodge will lighten them. The textured brush adds in some random and natural variation as I render giving the piece a bit of texture so it doesn't look quite so 'digital'.

When I was working on the layout of the 5 adjoining covers, I had no idea what to do with the background. I even wondered if I should leave it white and make the piece a bit more graphic (I was thinking of a Joe Mad X-Men cover from the 90's). But as I was flatting the piece, I eyedroppered up the orange color I had as a placeholder for the robot debris and flooded the sky with it––and didn't hate it.

Adding in some gradients and color shifts so that it was brightest at Dr. WhereWhen and darkest at the edges made a difference and both felt like the fatigue of battle as well as reminded me of a Usagi group piece of Stan's.

Most of my color choices were made when I was doing the layouts for this piece and all based on how the characters are colored in the comic already. But, I already have some shifts in color I generally prefer, like warmer versions of cool colors, more muted yellow greens for the turtles, and a warmer creamier color for Usagi's fur. That being said, I had to make further alterations to the base colors once I had the orange background in. Color perception is influenced by the colors surrounding them, so I had to make subtle adjustments to make the piece cohesive.

I also had to lasso areas (with a many-pixeled feathered edge) on each character after rendering them to adjust the highlight colors to be warmer and more yellow/red/magenta to imply the lighting of the background was affecting the characters as well––and that effect needed to be more intense closer to the middle of the composition.

For all the clockwork robot debris, I started with them being a base color that was somewhere between grey/brown and orange. I then went through on two different layers just making some pieces base tones lighter (with a screen layer) or darker (with a multiply layer). I then rendered everything the same way as the figures, while trying to make sense of those heaps of parts, I also knew they needed to be background and not pull focus away from the characters.

So, the rendering detail isn't as deep––and I did very little to shift the colors of various parts to make them look different from one another, I only employed the same lasso color shift to correspond with the intensity of the background.

There were a few areas I did special effects-like tricks like a subtle yellow starburst in the background radiating out from the blast near WhereWhen's wrist. The eyes of Wherewhen and Tomoe got a little effect tweak because of the color hold and I could render in a more rounded shadow and highlight into the pupil. The biggest effect was the keypad on WhereWhen's forearm on cover 5. In the comic it glows a bit, so I added some color hold effects as well as a screen glowy layer and a subtle starburst radiating out from it.

I knew the schedule would be tight getting this piece done on time when I started the layout. The trouble with adjoining covers is that you kinda have to get them all done by the time just the first one is due (because the colors on the background and the overlapping characters need to flow together without seams).

The work was going along smoothly as we neared Christmas, and I even made sure I'd have some down-time over the Holiday before this was due. Unfortunately, I got COVID (exposed on the 24th, symptomatic on the 26th, tested positive on the 27th). I was down for over a week, which really cut into this schedule. Once I was able to sit up without coughing or aching too badly, I just focused on coloring for as long as I could before needing to lay down again. The art was due on the 10th of January (only for cover #1––but as I said, I had to have the whole thing done because of choosing to do adjoining covers). I was up until 4AM on the 9th (technically the 10th by that point) when I finished uploading the completed files. All done, on time, while recovering from COVID.

The TMNT/Usagi Yojimbo WhereWhen five issue mini series starts April 12th. My covers are called 'Retailer Incentive' covers and will arrive in a 1/50 ratio for retailers.

I'll be selling all my inked covers together in my online store the same day the first issue goes on-sale in stores: mouseguard.bigcartel.com