But deciding on those colours takes a lot more work and fussing than a reader can imagine.ġ st: What do you think of the story in “Mermaids”?ĭonovan: I love Richard Van Camp’s original short story, and was thrilled at the chance to work of a comic adaptation of it. It’s something that I work hard at, and feel I get closer with every project I work on.
#Spacepig hamadeus about skin
When translating those colour subtleties into the limited number of colours available to be reproduced by a modern printing press, it can be a challenge to show differences in skin tones without exaggerating them in ways that would feel like a caricature. Our eyes can perceive subtle differences in the MILLIONS of colours that exist in reality. In this particular book, I tried to step outside of my own comfort zone in a few places and try some new things – the eerie green clouds on the opening page, and the wet streets lit by electric fire in the final panel come to mind.ġ st: How does one decide on the skin tones to use?ĭonovan: What a great question! I have been wrestling with this for decades, and Mermaids was no exception. So I’d propose that it takes a lifetime of practice. He invited me to colour his work on Jen Storm’s Firestarters from High-water Press in 2015, and we’ve worked on a fair number of books together since then! I think Mermaids was the second project that we had worked together.ġ st: You achieved wonderfully done colours on the mermaids and mermen how did you decide on the colours to use?ĭonovan: This will probably NOT be the answer you would have expected, but I merely painted my nightmares! I have a very real case of ichthyophobia, I know all to well the terrifying colours of fish!ġ st : The backgrounds have some nice shading and blending of colours does this take practice to achieve?ĭonovan: I feel like I’m STILL learning. 1”?ĭonovan Yaciuk: That came about through the artist, Scott Henderson. First Comics News: How did you end up working on “Sovereign Traces: Not (Just) (An) Other Vol.
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