Ice
Teh Sexy Monkey Queen
[IMGL]http://i77.photobucket.com/albums/j58/smckbmb/bpete.jpg[/IMGL] As posted on Newsarama.com, Brandon Peterson sits down and reveals that his next project will be in the Ultimate Universe and that it will be a mini series. Not revealed was which mini series it will be due to the announcement has not been made, though Marvel is looking for a November launch.
"So, I got that all started, I did commission lists, and started on the next project, even though it hasn’t been announced yet, even though I know they’re looking at a November launch. It’s an Ultimate miniseries, and if you liked Ultimate Extinction, it’s right in that same vein – almost a counterpart to what happened in that storyline. I’ve done some work on it already, and I can tell you that it’s going to be written by Mike Carey, and I’ve got the first three plots already. So – and I’m saying this on the record, if it’s late, it’s my fault.
NRAMA: Are you going to be using the same style, art-wise on this new miniseries that you used on Ultimate Extinction? Speaking of that style first – that was almost reminiscent of ziaptone in its look…
BP: Right. I ended up using a lot of computer graphics in that miniseries. I used 3D graphics, as well as a lot of Photoshop. I like some of the certain grayscale things that I was able to do, but that only works well in black and white, and it hard to translate that into something that can be colored over. You can’t keep it gray, because if you do, and color over it, nine times out of ten, it will turn muddy, and the colors won’t be bright at all. So you have to be careful in how you approach it.
So I looked at doing things with, as you said, in a zipatone approach, kind of screen dots that you see in manga and European work. The problem with that is that sometimes it can interfere with the color dots, and you can get weird patterns, and it won’t look the best.
What I decided was to try something with lines, sort of like the old duo-shade boards with the diagonal lines and contour lines. I did that in Photoshop as well, with the help of some custom filters, but it was so time-consuming. It was stupid time consuming. It literally doubled my time spent on the pages, but I was happy to try it. I think it was a success somewhat, but didn’t work as well as it could have. In some places, it flattened the artwork, and sometimes it made things too dark. But by the time I realized what it was doing to the art, I was halfway through Ultimate Extinction, and I didn’t want to change courses.
On this next thing, I’m taking a new approach that I’m really happy with, where I can take all the good that I like, and leave the bad. I’m actually much faster this way, which makes Marvel happy too – and let’s be honest, Marvel likes to get as much work out of me as they can, and I like to give it to them, without working myself to a nub."
To read the rest of the article, click on the link above.
"So, I got that all started, I did commission lists, and started on the next project, even though it hasn’t been announced yet, even though I know they’re looking at a November launch. It’s an Ultimate miniseries, and if you liked Ultimate Extinction, it’s right in that same vein – almost a counterpart to what happened in that storyline. I’ve done some work on it already, and I can tell you that it’s going to be written by Mike Carey, and I’ve got the first three plots already. So – and I’m saying this on the record, if it’s late, it’s my fault.
NRAMA: Are you going to be using the same style, art-wise on this new miniseries that you used on Ultimate Extinction? Speaking of that style first – that was almost reminiscent of ziaptone in its look…
BP: Right. I ended up using a lot of computer graphics in that miniseries. I used 3D graphics, as well as a lot of Photoshop. I like some of the certain grayscale things that I was able to do, but that only works well in black and white, and it hard to translate that into something that can be colored over. You can’t keep it gray, because if you do, and color over it, nine times out of ten, it will turn muddy, and the colors won’t be bright at all. So you have to be careful in how you approach it.
So I looked at doing things with, as you said, in a zipatone approach, kind of screen dots that you see in manga and European work. The problem with that is that sometimes it can interfere with the color dots, and you can get weird patterns, and it won’t look the best.
What I decided was to try something with lines, sort of like the old duo-shade boards with the diagonal lines and contour lines. I did that in Photoshop as well, with the help of some custom filters, but it was so time-consuming. It was stupid time consuming. It literally doubled my time spent on the pages, but I was happy to try it. I think it was a success somewhat, but didn’t work as well as it could have. In some places, it flattened the artwork, and sometimes it made things too dark. But by the time I realized what it was doing to the art, I was halfway through Ultimate Extinction, and I didn’t want to change courses.
On this next thing, I’m taking a new approach that I’m really happy with, where I can take all the good that I like, and leave the bad. I’m actually much faster this way, which makes Marvel happy too – and let’s be honest, Marvel likes to get as much work out of me as they can, and I like to give it to them, without working myself to a nub."
To read the rest of the article, click on the link above.
