Heralded by the success of Superman and Batman, the world of superheroes exploded in the late 1930s with a litany of colorful and often bizarre heroic characters, creating what is revered as The Golden Age of comic books. They defeated evil wherever it reared it’s ugly head, whether it be bloodthirsty Vampires from Pluto, repugnant Nazi jerks, or the mysterious and deadly effects of Atomic Radiation! These heroes sold books by the millions and ushered in an age of unprecedented JUSTICE. But soon, these ring a ding ding good times came to an end at the close of World War 2 as the heroes fell out of favor in the eyes of a giddy and spoiled public. It was curtains for the heroes, as the once successful publishers now faced bankruptcy and took to the giggle juice while their creations fell into the shadow realm of PUBLIC DOMAIN, a place where anyone, anywhere can use them for whatever nefarious deed their sick minds could concoct. GADZOOKS! No longer protected under the shield of copyright laws, these characters were buried and lost to the cruel hands of Father Time and the machismo of modern entertainment, as evil ran unencumbered through our streets!
BUT FEAR NOT, true believers! These heroes are back and better than ever! Reimagined by top creators in the industry, this anthology collects over 20 short stories paying homage and tribute to some of the greatest heroes and heroines lost to time with brand new, never-before-seen, exclusive tales bringing these amazing creations back to life! But don’t blow your wig, Johnny, this book is within your grasp! Get in on this here clambake and help show the world that these characters might have been buried under layers of dust, but they are NOT FORGOTTEN!
Featuring work by James Harren (Rumble, B.P.R.D., Conan), Eric Esquivel (Lego DC Superheroes, Vertigo Quarterly, Adventure Time), Ryan Cody (Doc Unknown, Heavy Metal Magazine, The Phantom), Jerry Gaylord (Bill and Ted’s Triumphant Return, Fanboy Vs Zombies, Ghostbuster/TMNT), Matt Harding (Doctor Mordrid, Popapocalypse, Styx, Madefire Studios), Angela Ahlers, Nathan Shorts (Toejam and Earl: Back in the Groove), Vincent Kukua (Image Comics), Saeed Arjumand (The Haunted Detective), Evan Limberger (Madefire Studios), Matt D. Wilson (Copernicus Jones: Robot Detective, the Supervillain’s Handbook), Rodrigo Vargas, Josh Krach, Ashley V. Robinson (Jupiter Jet, Top Cow Comics), Morgan Beem, Rica March, Jeffrey and Susan Bridges (Pendant Audio), Leonie O’Moore, Derik Hefner, Anne-Marie Webb, Andrew Steers, Edwin Lopez, Bobby Trauma, Esther Pimentel, Greg Menzie, Zakk Saam, Omar Morales (CruZader), Joel Cotejar, Paula Goulart, Jaymes Reed, Paul Plale, Andres Olveras, Gabriel Moore-Topazio (Wrought Comics, Asylum), Einar V. Másson (Bay Area Comic Anthology, Bruce the Angry Bear), Mikael Lopez, Kristian Bay Kirk, Sandra Rós Björnsdóttir (Krumla), Kevin Cuffe (Oathbound), Ricardo Lima, Jason Inman (co-host of DC All Access), Nick Robles (Maze Runner: The Scorch Trials), Casey Desilets, Malcolm Johnson (Styx, Ultrasylvania), Kevin Buckley (Madefire Studios, Cyberwulf), Jeff Leeds, Marco Maccagni (Archon, Vampblade), DC Hopkins (We Can Never Go Home, Trespasser),
Valentina Pucci (Action Lab), Angela Fato (Action Lab),
Jared Rosmarin, Eugene Young, and Dave Harding.
Reviving and re-imagining characters and stories such as The Scarlet Avenger, Atomic Tot, Terena of the Tundra, Airmale, Cannibal Planets, Lucky 13, Owlgirl, Marvelo, Black Terror, Moon Girl, Ozmar the Mystic, Super Ann, Master Mystic, Airboy, The Iron Skull, The Atomic Man, Mars Mason the Intergalactic Postman, The Black Knight, Jet Powers and more.
So tonight I wanted to share with you a little bit about my set up, and a couple crucial steps in the beginning that help hugely when I start on colors for a new project.
The top picture is a little doodle I did of the specific color palette I am using for the book I am working on right now, called HERE//after. One of the things that have helped me greatly in making good work is limiting my palette. Generally, for any one project, I try to limit my colors down to anywhere from 3-7 (this palette has 8, but I ended up nixing #2, the cobalt blue). This way I do not get too overwhelmed by my options, and all the pages have a nice, homogenized feel to them that helps make the book look uniform.
After I have picked my colors for my palette, I set up a color sheet, like the one you see above. Using squares ranging from lighter to darker/ more saturated I map out the colors I am using, and then, as you can see in the bottom half of the color sheet, I mix each color with the other until I have all the color combinations any two colors in my palette can make.
This step is a bit tedious, and more time consuming than I would like, but I would HIGHLY recommend it. It is so helpful when I move forward to know which colors make what and what I need to mix in order to pursue what I am envisioning.
Generally, your work is going to look better if you have a palette, and you mix the colors you may need from colors within that palette. You can definitely buy every paint under the sun and just use the straight tube color, but that is a) very expensive, and b) will often make your painting look all over the place, and not as unified and whole as if you has mixed the colors yourself. I have seen a lot of new or first-time painters come into an art supply store and try to pick the exact true tube colors they need to make a piece, instead of setting up a trusted palette and mixing their own paints. I guaranty you can grow more as a painter with the later.
Now, there is no real right or wrong way to make art, and I am sure there are some awesome painters who only use straight unmixed paints, but I have found on a whole that that is the harder way.
Picking a limited palette, mixing my colors and knowing ahead of time what they are has really helped my projects keep a strong feel and professional look, and I cannot recommend enough taking the time to do these steps.