
I got a new scanner for Christmas! My old one was dying and producing lines through the art. It was less noticeable with black and white art, and could be painted out with Photoshop. But colour was no longer possible.
Theold scanner was a Canon Lide 50, which I really liked. The new one is a Lide 100, much the same but with new software. It's been installed and I've tested it out. It works much smoother than the old scanner, producing really high quality images. For the test I picked four old colour pieces from 1985 that I had never scanned.
The first I'll post is this one. It's from back in the days when Giants walked the Earth, and also Jerry Collins. We used to do pastiches and knock-offs of each other's characters before he went off the deep end on me. I altered photocopies of the orignal art I did for future publications, but there was nothing I could do about the coloured pieces. Tkhey were never printed, and this is the first time they've been on-line. Jerry would probably say I should have burned them, but nuts to that. They've been out of circulation for nearly 25 years, that's enough.
The work was done entirely with colour pencils. There was no Photoshop then. There weren't any home computers that could run Photoshop 1.0 even. So how do you do something like this with colour pencils? Very carefully, and you take an insane amount of time. But I always thought it was worth it.
A few years later I was selling hand coloured work at furry cons. But prices were low and I fell into the habit of rushing the work, and doing simpler images. No one wanted to pay $100 or $200 for something like this then, and I doubt many would now. But even in 1985 that was cheap for something that took a week to colour.
I did eventually colour one of the altered xeroxes of this, but by comparison the colours are not as rich, and the line work was predictably coarsened by the photocopy of what was already a photocopy. This version is as it was intended to be, and is by far the superior.
Theold scanner was a Canon Lide 50, which I really liked. The new one is a Lide 100, much the same but with new software. It's been installed and I've tested it out. It works much smoother than the old scanner, producing really high quality images. For the test I picked four old colour pieces from 1985 that I had never scanned.
The first I'll post is this one. It's from back in the days when Giants walked the Earth, and also Jerry Collins. We used to do pastiches and knock-offs of each other's characters before he went off the deep end on me. I altered photocopies of the orignal art I did for future publications, but there was nothing I could do about the coloured pieces. Tkhey were never printed, and this is the first time they've been on-line. Jerry would probably say I should have burned them, but nuts to that. They've been out of circulation for nearly 25 years, that's enough.
The work was done entirely with colour pencils. There was no Photoshop then. There weren't any home computers that could run Photoshop 1.0 even. So how do you do something like this with colour pencils? Very carefully, and you take an insane amount of time. But I always thought it was worth it.
A few years later I was selling hand coloured work at furry cons. But prices were low and I fell into the habit of rushing the work, and doing simpler images. No one wanted to pay $100 or $200 for something like this then, and I doubt many would now. But even in 1985 that was cheap for something that took a week to colour.
I did eventually colour one of the altered xeroxes of this, but by comparison the colours are not as rich, and the line work was predictably coarsened by the photocopy of what was already a photocopy. This version is as it was intended to be, and is by far the superior.
Category All / All
Species Unspecified / Any
Size 600 x 755px
File Size 309.4 kB
lol. Hey I'm not THAT scary young. Just 21. And actually, I think you're about the same age as my father (if he's not older. I lost track of his exact age).
But anyway, good work even then. And like mentioned, I'm still impressed it's in such good quality condition after all that time. You must keep very good care of your old work. I tend to lose anything not in the sketchbook I'm using at the time. XD
But anyway, good work even then. And like mentioned, I'm still impressed it's in such good quality condition after all that time. You must keep very good care of your old work. I tend to lose anything not in the sketchbook I'm using at the time. XD
I've gone through two or three systems of keeping my old work safe. Left to themselves in a box, the paper is acidic and will yellow, and the inks will spread through to adjacent sheets. Some of my oldest stuff is tragically marred. The system I've had for the last fifteen years, I guess, has everything stored neutral plastic page protectors, in zip binders. Only a relatively small number of larger items are in larger plastic page protectors in a box. I have leather or leatherette art folios, but those are designed for a small number of very large sheets, not a large number of fairly small sheets.
It would probably not do any good to rake that up all over again in detail.
In brief, Jerry never took advice, even simple hints that he might draw on decent npaper instead of a scrap with a coffee ring on the other side. His reaction was always, "don't be so serious." But then he'd turn around and show that he took himself deadly serious. He did one story of how the world persecuted him over again three separate times.
More important, he began to be insanely proprietorial -- all deer girls belonged to him and anyone else doing them were plagerists. Any characters in uniform or with anim appearance were ripped off from him. People who had been trading art with Jerry -- as I had -- discovered that he didn't want them to show the art to anyone, or do anything like it again. Eventually, Jerry grew so obsessed with "protecting" his art that he withdrew from contact from fandom. He could sometimes be found on burned-fur sites bum-rapping fandom, and blaming everyone else for his failure to advance himself.
In brief, Jerry never took advice, even simple hints that he might draw on decent npaper instead of a scrap with a coffee ring on the other side. His reaction was always, "don't be so serious." But then he'd turn around and show that he took himself deadly serious. He did one story of how the world persecuted him over again three separate times.
More important, he began to be insanely proprietorial -- all deer girls belonged to him and anyone else doing them were plagerists. Any characters in uniform or with anim appearance were ripped off from him. People who had been trading art with Jerry -- as I had -- discovered that he didn't want them to show the art to anyone, or do anything like it again. Eventually, Jerry grew so obsessed with "protecting" his art that he withdrew from contact from fandom. He could sometimes be found on burned-fur sites bum-rapping fandom, and blaming everyone else for his failure to advance himself.
About five years ago Jerry contacted me, out of the blue, and we've been corresponding off and on ever since (in fact, I'm late getting my Christmas card out to him). Our communications have been sporadic, partly due to laziness on my part and partly due to the fact that Jerry has fallen on hard times, financially. Despite that, he seems to be in a much better frame of mind these days.
It's good to see you're taking things on the level. Indeed, the past *is* the past. I never disown it, but I try not to live the present by the rules of 20 years ago. That's one reason I usually say that I have no enemies. If I think really hard, I can remember a few names of people who don't like me enough to be a pain in the neck. But, if I'm in their thoughts, they aren't in mine. Also, even "enemies" tend to get over hard feelings eventually. At present I can only think of one person who is opening doing what he can to harm me. He has serious mental problems though... not to mention credibility problems. Being dissed by him is like being beaten to death with a cream puff, so I ignore it. Eventually I figure he'll get over it... or he'll start cutting his wrists again.
I'm Vaughn. Jerry's son. Just so you know, I really don't want to get caught up in all this. I've heard both your stories about what happened all those years ago, and I really just want all this fighting to stop. As a matter of fact, I thought my dad got over it, already, but it appears he didn't. I'm kind of pissed that he used my account to comment on your artwork, but he didn't have an account of his own, at the time, and he's not really computer savvy. Like, at all. Anyway, I hope you two finally make your peace with each other and end this. Because I'm really sick of hearing about it. Have a nice day, sir.
Wow. The subtle shading is very impressive. I'd ask how you managed to achieve those subtleties with pencils, though I suspect the answer is a combination of practice and patience. (Not that there's anything wrong with that answer, per se, but it seems to be the one that everyone gives, you know?)
It's hard to know what other answer is possible.
To break the process down into steps, I'd do the flat colours first, just colouring this patch of cammy and then the other patch, in whatever colour seemed best. If it needed adjustment, I'd colour in a bit of some other shade of green or brown until the mix looked right. When all of that was done, I'd use a black pencil to shade over the colours. In this case the light is fairly diffuse, though one-directional. Shadows are relatively faint, so the black only goes over lightly. Where a shadow begins and ends is purely a matter of judgement.
To break the process down into steps, I'd do the flat colours first, just colouring this patch of cammy and then the other patch, in whatever colour seemed best. If it needed adjustment, I'd colour in a bit of some other shade of green or brown until the mix looked right. When all of that was done, I'd use a black pencil to shade over the colours. In this case the light is fairly diffuse, though one-directional. Shadows are relatively faint, so the black only goes over lightly. Where a shadow begins and ends is purely a matter of judgement.
You had to ask! Now I can't do it!
It's like that question you ask a guy with a long beard -- do you sleep with it under the covers or over?
Actually, I started at the front and worked back. You probably notice that the further back you go, the less detail -- all you see are the tops.
It's like that question you ask a guy with a long beard -- do you sleep with it under the covers or over?
Actually, I started at the front and worked back. You probably notice that the further back you go, the less detail -- all you see are the tops.
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