By STEPHEN D. STONE
When I decided to start coloring my cartoons, my first consideration was
choosing the medium which would allow me to achieve the most uniform and
professional quality possible. I had briefly dabbled with color markers but
the finished product was not as fluid as I would have liked due to the
bleeding and overlapping of colors my limited abilities could produce. In
addition, if and when I made a mistake, I would have to start all over.
Knowing I would have the same difficulties with watercolors and similar
mediums, I decided to purchase a computer and a graphics program commiserate
with my needs. It was also necessary to obtain a quality scanner and printer
capable of producing the desired product. This was a simple task. I merely
informed the salesperson of my needs and she provided me with the best
products available at that time. I knew absolutely nothing about computers at
that time so I am sure that anyone could do the same, and acquire the
necessary equipment, without any difficulty.
Before the advent of the computer, the job of coloring cartoons must have been
an exacting task. The ability to achieve a smooth, even finish to your art
was in direct relation to your skill with a brush or pen. Not so today. The
program I purchased has all of the tools necessary for any artist's studio.
Marker pen, ink, paint, air brush, bucket fill, gradient fill, and also the
ability to mix colors, lighten, darken, erase, smudge and clone are only a few
of the tools at my disposal. In my case, I prefer to keep it simple. The
tools I use most in the graphic program I purchased is the bucket fill and
color blending. As I gain more knowledge and experience, I expect that this
could change.
To start, I make a simple line drawing of my cartoon and after scanning it
into the program I use the computer to simply fill in between the lines. This
has effected my drawing style to a degree, because now I have to make sure all
of my lines connect so the program will keep the color where I want it.
Previously I had a loose style where I seldom connected all of my lines. I
also routinely liked to suggest an object by merely drawing a partial line. I
can still do that, but it now takes a little more work to create such an
effect. As this implies, there is always a downside to any shortcuts we
attempt to take for expediencies sake.
Due to this, my cartoons have taken on a more deliberate and exacting quality
than I had previously exhibited. In the long run I may have sacrificed some
of my individuality and style, as well as the freedom and spontaneity I was
used to enjoying, for the convenience afforded by the computer. You might
want to take this possibility into consideration when choosing if you want to
try this method for your cartoons.
A computer is just as much of a tool as your pen and ink, and the use of color
should be considered just another such tool. Used in the wrong way color can
detract from your cartoon and even destroy the entire meaning of the gag.
Using color is considered an instinctive thing for most artists, but none the
less I will discuss some of the basics that I feel have been helpful to me.
It is commonly accepted that certain colors are generally associated with
specific moods or feelings (i.e., red = anger, yellow = warm, blue = cool,
etc.). The use of these colors in a negative way could change the entire
intent of the situation or mood you have tried to create in your cartoon.
Another common rule of thumb is to use subdued or lighter colors for objects
in the background and darker or brighter colors for subjects in the
foreground.
Other suggestions might include the use of complimentary colors (i.e., the
color opposite another on the color wheel) for effect. Also I always try to
use the same, or like color, at least twice more in the same panel of my
cartoons. Colors used in three's somehow appeal to the eye and tends to
balance a rendering.
My advice is to never overpower your cartoons with color and always allow the
lines of your original drawing to remain the dominate aspect of the gag. You
can use more brilliant colors to draw the eye of the reader to areas within
the drawing which you feel are essential to your cartoon. By the same token
you can use more subdued colors to diffuse the background or other such
aspects of the drawing which are necessary to the piece, but not relevant to
the humor. Never make the mistake of thinking that color doesn't play a major
role in your cartoon. It is every bit as determinate as the drawing of the
objects or characters you have created to the outcome of the quality of your
ultimate product.
I have found that there are certain colors that I tend to favor on a more
regular basis. This "choice of color" process seems instinctive, but in
reality the skills and principles I learned in art school (and taught myself
through trial and error) are merely manifesting themselves whenever this
happens. Using a computer program for adding color to my cartoons allows me
the luxury of trying out several colors to see which works best before
actually committing. This doesn't happen all of the time but believe me,
there really is a difference. You might experiment with this yourself
sometime and see what you think.
Since cartoons can be a form of fantasy, you are at liberty to break the rules
when it comes to choosing the colors, or coloring style, for your panel or
strip. Trees, buildings, backgrounds, etc., don't have to appear in your
cartoon as they do in real life. Allow your personality to manifest itself in
your work and create your own environment. Eventually the public (if you get
so lucky) will be able to recognize your work at a glance in much the same way
someone tells the difference between a Picasso and a Van Gogh.
The color and method you choose will help define your character's personality
and demeanor through subtle and not so subtle ways. Hair color, complexion
and such a simple thing as the color of clothing are only some ways which will
effect the perception the reader has of the characters you create. The choice
of colors, non colors, spots, stripes, etc., will effect the way people view
certain animals or objects you have drawn as well.
So remember, whether you use markers, ink, watercolor or a computer program to
color your cartoons, the use of color should never be just an afterthought.
Color is every bit as important as the original drawing.
These are only suggestions. Cartooning, after all, is just art and as in any
form of art it is not necessary to always follow the rules. If it works - go
for it! It is always the person courageous enough to try something new that
makes the changes in this world, and the world of cartooning is no different.
