"Culbard's pulpy, golden-age illustration style complements Edginton's sharp eye for pacing to great effect"-Cory Doctorow
BUY 'AT THE MOUNTAINS OF MADNESS'
"Gorgeous, thrilling... enthralling" -FPi "his best work to date" -GS "Culbard has had conversations with dead men."-BH
BUY 'THE SIGN OF THE FOUR'
"Both Holmes and Wilde have been sexed and revved up recently in a superficial, flashy Hollywood remake for mall kidults, whereas this graphic novel stays mostly respectful to the original... I was soon won over." -Paul Gravett.
BUY 'A STUDY IN SCARLET'
"As the great detective himself might have said, 'The game is afoot!' as the first ever Sherlock Holmes adventure is brought to life brilliantly in this stunning graphic novel." -Mark Billingham.
BUY 'THE HOUND OF THE BASKERVILLES'
"Holmes enthusiasts will be pleased and relieved by Edginton & Culbard’s back-to-basics approach, retaining the authentic tone and character of Conan Doyle’s original stories; hence no bumbling Doctor Watson nor deer stalker as added in later cinema and theatre versions." – GOSH!
BUY THE PICTURE OF DORIAN GRAY
"Films and graphic novels have a lot in common – indeed I could have used much of this as my storyboards. It's terrific to see Wilde's work in this form and it's a great way to reach a wider audience. The visuals are bold and striking and the text very skillfully abridged." - Oliver Parker, director of 'The Importance of Being Earnest', 'An Ideal Husband' and the forthcoming 'Dorian Gray'.
Thursday, February 03, 2011
FREAK CLIQUE
Another doodle from my sketchpad at Angoulême colored in photoshop on my return.
Very nice indeed, sir. Could you see it in your heart to impart your colouring knowledge upon a lowly servant such as I? I love your pallette, how long did the peice take to colour? After spending eight hours drawing a page I can't see myself spending the same again on colour (I'd never get anything out) I'm on the lookout for an economical, quick way of adding a wash to compliment the pencil shading.
David, coloring goes like this. Work in tone first so you're sure you're creating depth. The isolate the areas individually to create a color often using adjustment> photofilter and then bring in your various colors cranking them up to whatever you need in terms of saturation. So you select red for a red hat etc. After you've done that select all and at 25% use a single overall color on photofilter (if you want it warm or cold or whatever)- like leaving a colored sock in a white wash and from there you give everything a relative value. Its all really just tweaks from there but it really shouldn't take anymore than an half an hour to an hour. On this, at the final stage I hit Hue/saturation and ran a preset on it called "Old" which washes the color out a little. And you're done. The rest is a layer of creases from old pulp covers and that's it. Oh and there's an overall layer of texture in there, something grungy, which pulls everything together a little and also a couple of splat brushes.
Thanks so much for taking the time to go through your process Ian. It's very much appreciated. Hopefully we will meet up at Mondo one of these days:) Oh, and yeah, I'm jealous too, I'd love to go to Anguoleme, each year passes and for some reason I never get there (just like SDCC)
Cheers Shane. Okay, not a doodle like I'd do if I were talking on the phone but... you know what I mean, a downtime convention sketch? I don't know what you'd call it.
Your work is fantatsic Ian... I always knew you'd make it. Have only just discovered your published work am sooooo proud of you babe. Well done!! I'd recognise your style anywhere Max x
10 comments:
Very nice indeed, sir. Could you see it in your heart to impart your colouring knowledge upon a lowly servant such as I? I love your pallette, how long did the peice take to colour? After spending eight hours drawing a page I can't see myself spending the same again on colour (I'd never get anything out) I'm on the lookout for an economical, quick way of adding a wash to compliment the pencil shading.
The little hairy guy in the background makes this piece. Glad to hear you had a good time at Angouleme! I'm seething with envy.
Cheers David and Chris, much appreciated.
David, coloring goes like this. Work in tone first so you're sure you're creating depth. The isolate the areas individually to create a color often using adjustment> photofilter and then bring in your various colors cranking them up to whatever you need in terms of saturation. So you select red for a red hat etc. After you've done that select all and at 25% use a single overall color on photofilter (if you want it warm or cold or whatever)- like leaving a colored sock in a white wash and from there you give everything a relative value. Its all really just tweaks from there but it really shouldn't take anymore than an half an hour to an hour. On this, at the final stage I hit Hue/saturation and ran a preset on it called "Old" which washes the color out a little. And you're done. The rest is a layer of creases from old pulp covers and that's it. Oh and there's an overall layer of texture in there, something grungy, which pulls everything together a little and also a couple of splat brushes.
Hope that's of help.
Thanks so much for taking the time to go through your process Ian. It's very much appreciated. Hopefully we will meet up at Mondo one of these days:)
Oh, and yeah, I'm jealous too, I'd love to go to Anguoleme, each year passes and for some reason I never get there (just like SDCC)
that is SOME doodle, ian - love it!
No worries, David, glad it was of some use.
Cheers Shane. Okay, not a doodle like I'd do if I were talking on the phone but... you know what I mean, a downtime convention sketch? I don't know what you'd call it.
Your work is fantatsic Ian... I always knew you'd make it. Have only just discovered your published work am sooooo proud of you babe. Well done!! I'd recognise your style anywhere Max x
...a sketchle or a drawdle?
either way it's well weird lovely.
Hi Ian,
Another question from another lowly servant... :)
Just wondered what you use to get those lovely black lines - with varying thickness, etc. Is that one pen/brush, or several different ones?
I'd be interested to see the original doodle too, any chance you can post that?
Cheers
Martin
Cheers Martin - I use a pentel brush pen http://amzn.to/ev8y93 and a uniball for the thin lines http://amzn.to/efRTTt
In the meantime, if you go to the Angouleme blog update you'll see I did a Freak chic picture which has the original art next to it
- here
http://3.bp.blogspot.com/_EpQp9B6bYNU/TUg-od5bJ4I/AAAAAAAABbQ/jA76HMuyAl4/s1600/freakchic.jpg
Same thing really.
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