Originally appearing in

MARVEL AGE #13

April 1984
Jim Shooter
Editor-in-Chief
Jim Salicrup
Editor and Design Director
Mark Lerer
Editorial Assistant
Bob Kessel
Designer
Brenda Mings
Jay Zilber
Typesetter
Paul Becton
George Roussos
Colorists
Jim Starlin
Cover Artist
Carol Kalish
Direct Sales Manager
Peter David
Assistant Direct Sales Manager
Irving Forbush
Cosmic Defender

MARVEL AGE™ Vol. 1, No. 13, April,

1984. Published by MARVEL COM-
ICS GROUP, James E, Galton, President.
Stan Lee, Publisher. Michael Hobson,
Vice-President, Publishing. Milton
Schiffman, Vice-President, Production.
OFFICE OF PUBLICATION: 387 PARK AV-
ENUE SOUTH, NEW YORK, N.Y. 10016.
Published monthly. Copyright © 1984
by Marvel Comics Group, a divison of
Cadence Industries Corporation. All
rights reserved. Price 25¢ per copy in
the U.S. and Canada. Subscription rate
$4.00 for 12 issues. Canada and Foreign,
$6.00. Printed in the U.S.A. MARVEL
AGE (including all prominent characters
featured in the issues), and the distinc-
tive likenesses thereof, are trademarks
of and have been copyrighted by, the
MARVEL COMICS GROUP.
 by Mark Lerer up the intermediate yellow shade.
Color commands attention and Similarly for R2, R3, B2, and B3.
brings power and beauty to comic Every color on the chart is a
books, and the craft of coloring is combination of these shades. For
highly rewarding. Marvel receives example, solid green is YB, a 100%
scores of coloring submissions every yellow combined with a 100% blue.
month from talented people who R3B2, a reddish purple, is a 50% red
want to go professional but aren’t screen combined with a 25% blue
familiar with the basics of the screen. The colorist mixes these
business. So, while you won’t be- colors from water-soluble dyes, and
come a professional colorist just by paints them on a xerox of the black-
reading this article, we thought a and-while inked comic book art, to
little discussion of the colorist’s trade make a guide for the separator at the
would be a good idea. Indeed, no printing plant who actually prints the
matter what part of the comics field comics in color.
you’re interested in, you’ll benefit Professional colorists use Dr. Mar-
from knowing the principles of good tin’s brand Synchromatic Watercolor
coloring. Marie Severin, who has position, and the nature of color. Dyes, which come in a set of thity-six
mastered nearly every aspect of the Before you can become a colorist, we colors, and a size #2 or #3 sable
medium, strongly recommends that recommend you develop a good watercolor brush. Now, Dr. Martin’s
every writer, penciler, or inker color color sense and have thorough Dyes don’t come labeled with the
at least once. Furthermore, the recent knowledge of the interaction of color printer’s notation, and learning how
technical breakthroughs of printing and light on figures and shapes. to mix the sixty-four printer’s colors
on high-quality paper and printing in Know how to mix different shades from the dyes takes some practice.
full-process color make the colorist’s from the primary colors, and how to The basic colors come straight out of
job more exciting, and more impor- combine and contrast hues in pleas- the bottle: the dye called “Lake”
tant, than ever. ing and eye-catching ways. gives you R, “Cerulean Blue” gives
Unfortunately, there’s no one Tools, Materials, and the Color you B, “Lemon Yellow” gives you
place you can go to learn how to be a Chart. Comic books are printed in Y, and “Emerald” gives you YB. To
comic book colorist. The demands of the sixty-four combinations of red, mix the 25% and 50% shades, simply
the craft are unique, so the only real blue, yellow, and their lighter shades thin the colors with water. For
way to learn coloring is to do it. shown here on the printer’s color example, you get Y3 by mixing equal
Almost all of our colorists are chart. The notation may be a little parts of Lemon Yellow dye and
experienced artists in more than one confusing. R means a solid, or water, and you get Y2 by mixing one
medium. Many have penciling and “100% screen,” of red. Likewise, B part Lemon Yellow dye with three
inking experience behind them. means a 100% screen of blue, and Y parts water. These are not perfectly
Some, like Christie Scheele, Daina means a 100% screen of yellow. exact recipies, either — you’ll have
Graziunas, and George Roussos, “Y2” means a 25% screen of to play with the dyes and get a feel for
are painters. Studying drawing and yellow, which makes up very light how much water to mix with how
painting is an excellent way to learn yellow shade, and “Y3” means a much dye to make the shades showm
the principles of lighting, of com- 50% screen of yellow, which makes on the color chart.

20
 down Lake. Use “Light Brown” for and backgrounds were always pastel
YR3B2, which is both the hair color 25% or 50% shades. Of course, this
of most brown-haired characters and was a very restrictive formula, and
the color used for black characters’ allowed the colorist no artistic free-
skin. For a good shocking pink, thin dom or imagination. But it did
down “Rose Carthaine” with water establish some fundamentals which
until you get R2 or R3. Characters are necessary for you to adhere to.
who wear black often have blue high- While creativity and imagination are
lights. For these blue highlights, you essential, your coloring must first
can either use plain old B, or what accomplish some basic ends.
colorists call “Dracula Blue,” Y2BR2. The first basic goals are clarity and
We’ll leave it to you as an exercise to depth. The main characters in the
mix this one up on your own. Finally, panel have to stand out. To make the
a word of warning. Some of the story clear and make it possible for
colors on the chart tend not to print the reader to follow the action, keep
accurately or consistently. You may this in mind: in any picture, there are
have trouble getting a wide range of three planes in which the action takes
grays and browns. Avoid YRB, place, the foreground, the middle
Y2BR, and Y2BR3. ground, and the background. There
Telling the story. You’ll want to should be contrast between the fore-
know some rules before coloring ground figures and their surround-
your first comic book story. As ings. Make subtle variations of color
Editor in Chief, Jim Shooter has laid only within the planes — if you
down the fundamentals for coloring color an object pale purple against a
comics the Marvel Way. There is no brown background, it just won’t
single formula for how to color show up too well, and the picture will
comic book stories — at least not be unclear and muddy. In general,
any more! Jim told us that when he color the planes to contrast with one
first entered the business, almost another. Keep the planes consistent
Let’s try coloring a few characters. twenty years ago, there actually was and fairly simple. Do not break the
Captain America’s costume is a formula for coloring comics. backgrounds up too much with
pretty easy. His colors are YR, B, Heroes were all colored in solid, different colors. Many beginners
and white. YR comes straight out of 100% primary colors, villains were will color every doorknob and
the bottle labelled “Vermillion,” and all in solid secondary colors, civil- every book in a bookcase a different
B you already know comes straight ians were all dark blue and brown, color. This will only confuse the
out of the bottle of Cerulean Blue.
White, of course, you just leave
blank! The Hulk is a little harder. His
skin is YB2 and his pants are RB2.
RB2 comes straight out of the bottle
labelled “Magenta.” The best way to
get YB2 is to mix “Nile Green” with
a little bit of Lemon Yellow.
Sometimes the color are really
tough to mix from the dyes, in which
case you use a shortcut. Take, for
example, Doctor Doom. His hood
and cape are YBR2. If you try to mix
this color exactly, you’ll go crazy! So
the colorist mixes green with a little
brown for a close approximation, and
labels the color “YBR2” right on the
Xerox in pen. Doom’s armor is even
worse — to approximate the gray
color of metal, we use a dark purple
called Y2R2B3, with white high-
lights. Same thing — mix up a close
enough gray, and write “Y2R2B3”
on it.
Here are a few more useful reci-
pes. A good flesh tone is Y2R2,
made by thinning down Lemon
Yellow and mixing it with thinned

21
 NO 25 50 100
BLUE BLUE BLUE BLUE

NO
RED
WHITE B2 B3 B
NO YELLOW

25
RED
R2 R2 B2 R2 B3 B R2

50
RED
R3 R3 B2 R3 B3 B R3

100
RED
R R B2 R B3 B R

NO 25 50 100
BLUE BLUE BLUE BLUE

NO
RED
Y2 Y2 B2 Y2 B3 Y2 B
25 YELLOW

25
RED
Y2 R2 Y2 R2 B2 Y2 R2 B3 Y2 B R2

50
RED
Y2 R3 Y2 R3 B2 Y2 R3 B3 Y2 B R3

100
RED
Y2 R Y2 R B2 Y2 R B3 Y2 B R
22
 Color Chart NO 25 50 100
BLUE BLUE BLUE BLUE

NO
RED
Y3 Y3 B2 Y3 B3 Y3 B
50 YELLOW

25
RED
Y3 R2 Y3 R2 B2 Y3 R2 B3 Y3 R2 B

50
RED
Y3 R3 Y3 R3 B2 Y3 R3 B3 Y3 R3 B

100
RED
Y3 R Y3 R B2 Y3 R B3 Y3 R B

NO 25 50 100
BLUE BLUE BLUE BLUE

NO
RED
Y Y B2 Y B3 Y B
100 YELLOW

25
RED
Y R2 Y R2 B2 Y R2 B3 Y R2 B

50
RED
Y R3 Y R3 B2 Y R3 B3 Y R3 B

100
RED
Y R Y R B2 Y R B3 Y R B
23
 reader. Make only the key elements drama and really add something to tion, take a look at a recent Marvel
in the story stand out. Also, avoid the story. A large knockout at a comic and notice the coloring. You
putting all dark or all light colors crucial moment, such as an explosion should see the fundamentals in
in any one panel. If you have to or a reaction shot of someone’s action. The main figures, and ele-
color a scene that takes place at terrified face, can make a scene that ments important to the story, stand
night, the backgrounds will have to much more powerful. Equally effec- out from their surroundings. Back-
be dark, so use your knowledge of tive is highlighting. where you either grounds are generally simple, large
composition and lighting to place leave white, or color in a different areas of just a few colors. Dramatic
lighter shades on the characters, to shade, those parts of a figure close to effects appear only when they add to
keep the contrast between fore- the light source. Large highlights can the story. On a particularly exciting
ground and background. That varia- make the light source seem twice as job, you should also see the colorist’s
tion of lights and darks in each panel intense. For example, a civilian with imagination at work, with an un-
is important. white or yellow highlights standing usual, artistic, and creative use of
Beware! There are limitations of next to the Human Torch makes striking and different hues.
the printing process to watch out for. the Torch’s flame look particularly Coloring for high-quality paper.
Too much modeling or blending on hot! Use knockouts and highlights Baxter, Hudson, and Mando stocks
the figures will not print clearly. sparingly. Don’t use them out of lazi- are much whiter than regular paper.
Also, if the picture has a group of ness, and don’t use them too often in Colors look especially vibrant when
many small characters, you probably one story, otherwise they’ll lose their printed on Baxter paper. The colorist
won’t be able to color them all dramatic impact. must adjust his palette accordingly.
differently. In that case, do a People always ask us how we Too many bright solid colors can
“knockout —” treat the grouping as manage sometimes to print a figure’s overpower the reader and cause the
a background and color them all one outline in a color other than black. story to lose clarity. So, for example,
color. The best rule of thumb — It’s done by means of something if you’re coloring a story for Baxter
keep it simple. called an overlay. The lines to be paper that would ordinarily call for a
Tell the story. Pay attention to the printed in color are inked in black on lot of 100% yellow, you’ll want to
script for color indications. Trees are a clear acetate sheet, attached to the tone it down to a 50% yellow in many
a different color in autumn, things page of artwork. It’s not really the places. One wonderful thing about
are darker when underwater or wet, colorist’s prerogative to decide when coloring for Baxter paper is that the
and so on. If you follow the story and to use an overlay. That’s generally screens used in the printing process
use common sense, you’ll avoid the decision of the penciller or inker. are finer, so colors print more
making a lot of dumb mistakes! Often, though, the penciller and inker accurately. You can use many of the
Some standard devices. In gen- will consult with the colorist to grays, browns, and pastels that don’t
eral, you should color things the way decide what color the overlay should print well on regular paper. You can
they are in real life — apples are red, be printed in. An imaginative color color “graduated” background
grass is green, and the Thing is choice can make the overly very tones, too.
orange. But a couple of stock-in- effective. Because we’ve only begn to use
trade “tricks” can heighten the Before going on to the next sec- the high quality papers, they are a

© 1983 Marvel Comics Group. All rights reserved.

24
© 1983 Marvel Comics Group. All rights reserved.

FINAL VERSION

Coming up with the color scheme Roussos, working closely with

for a new character isn’t always easy editor Bob Budiansky, came up with,
— check out the many color designs which were considered for Marvel’s
that Paul Becton and George newest superstar, Red Wolf!

25
 challenge for many colorists. We are smoothly on the stat paper, for more printing process.
still learning the idiosyncracies of the even color. Modeling and blending Don’t be afraid to make mistakes
whiter papers, and many of the free- are possible with full-process color. — it takes a lot of practice to get
doms and limitations they present You can also work with paints other really good, so don’t get discouraged
still are not known! Glynis Wein, than Dr. Martin’s dyes. Bob Sharen, if you mess up the first few times.
who has worked extensively for for example, likes to use water- Even after you’ve gotten a pro-
Baxter paper, told us that it took her soluble fine-point magic markers. fessional assignment, you’ll be sur-
several issues of coloring just to get a For the NEW MUTANTS Graphic prised at how many things there are
feel for how those same sixty-four Novel, Glynis Wein did a good deal to learn. be patient. The regular
colors behave on high-quality stock. of highlighting in white tempra paint. process is very limited, and full-
Covers. Color covers using the Christie Scheele, frustrated by the process is a new and unknown
same principles that you would Dr. Martin’s Dyes, used opaque animal, so your work may not always
follow for coloring the insides of a acrylic and casein paints for the grays come out looking the way you had
comic. Remember clarity, depth, and and purples in the second issue of the envisioned it.
contrast. However, because the cover DR. STRANGE Special Edition.
is the first, most critical picture in Some recent experiments with
attacting the reader’s attention, it full-process color have worked par-
must be as dramatic and startling as ticularly beautifully. Christie Scheele
possible. Further, the color separa- and Daina Graziunas colored “The
tion process used for covers, like that Price” for the DREADSTAR Annual
used for high-quality papers, allows in acrylic and casein paints on a
a fuller range of colors, including twice-sized stat of Jim Starlin’s
grays, browns, and graduated back- black and white halftone artwork.
ground tones. Cover colorist George The result of this experiment,
Roussos occasionally takes liberties suggested by Jim Shooter himself,
such as coloring a blue character had the highly realistic and pleasing
purple for the sake of mood or look of a tinted photograph. Posters
atmosphere. The title lettering or for Marvel Press are done in Dr.
logo should be prominent, set off in Martin’s Dyes on full-size, blue- or
good contrast from the background grayline reproductions printed on
and the scene depicted. Center the illustration board. The illustration
interest, and grab the reader! The board’s highly absorbent surface
cover is the most important single allows extensive watercolor tech-
picture in the comic — color it ac- nique. Here full-process color repro-
cordingly! duction frees the colorist to do highly
Full-Process Color. Entirely dif- meticulous, painterly work. Look at
ferent from regular sixty-four color the Spider-Man poster, colored by
printing, full-process color is a fairly Christie, and the Cloak and Dagger
recent development in comics pub- poster, done by Glynis for coloring
lishing. In full-process coloring, the as fully realized as penciling and
colorist paints a finished piece which inking.
is photographically reproduced for Concluding remarks. Coloring
the final comic book. This method is for reproduction gives you far greater © 1983 Marvel Comics Group. All
often called “coloring for reproduc- chromatic and technical freedom rights reseved.
tion,” because the mark of the than regular process coloring, in-
colorist’s hand will be reproduced cluding the ability to model and If you do get a crack at a pro job,
exactly in the comic. You’ve seen blend. You must, however, adhere to be dependable. The proficient and
full-process color in EPIC ILLUS- the same fundamental principles of reliable colorist will have no problem
TRATED, the Marvel Graphic storytelling which you would follow getting work on a regular basis.
Novels, our Special Edition reprint for the regular coloring process. Remember, too, though, that it takes
books, and many covers for our Keep it simple. Don’t try to show years to build up the reputation of a
regular line of comics. off! An editor can always tell a Marie Severin or a Glynis Wein.
When working full-process, a col- beginner’s work when it’s too “self- Give it your best shot — because
orist colors not on a xerox, but on a conscious,” or when there’s un- we’re always open to new talent, you
full size photostat of the black and necessary trickery. Telling the story may find, with some hard work and
white artwork. Here you can more comes first. Clarity, depth, and determination, that you can become a
fully explore the range of colors that contrast are more important than Marvel comics colorist. Check out
Dr. Martin’s Dyes will give. George virtuosity for its own sake. Think of THE OFFICIAL MARVEL
Roussos recommends mixing a drop yourself as part of a team wth the COMICS TRY-OUT BOOK, on
of Photo-flo, a commercially avail- writer, penciler, and inker. Be as sale now, for more information and
able chemical, with the Dr. Martin’s imaginative and creative as you can, full details on how to submit coloring
dyes to make them flow more but know the limitations of the samples.

26
 Our staff. The men and women
who color Marvel comics are the best
in the business. Meet the terrific Bob Sharen was born in Morris-
people who helped us put this article town, New Jersey in 1946. Bob
together:
started at Marvel in 1977 as a back-
ground inker. He soon found coloring
more to his liking, and went on to
color SPIDER-MAN, DR. STRANGE,
and THE HULK. Bob is currently
excited and fascinated by the pos-
Christie Scheele was born in Lin- sibilities of full-process color, and his
coln, Nebraska, and raised in upstate work in that area can be seen in the
New York. Christie came to New SUPER BOXERS Graphic Novel,
York City upon completing her and the MICRONAUTS Special
Bachelor of Fine Arts from Alfred Edition.
Paul Becton is Marvel’s Coloring University. Christie began coloring
Co-ordinator. He’s responsible for for Marvel in 1980, when Jim
changes, corrections, and keeping Shooter noted that her try-out
reference files for the proper coloring assignment, an X-MEN reprint
of our characters’ costumes. Paul’s story, was the best first-time coloring
coloring can be seen most recently in job he had seen. One of Marvel’s top
U.S. 1 #3 and DEFENDERS #126. colorists in both regular and full-
Born in 1952, Paul has lived all his process methods, Christie divides
life in Staten Island, New York. her time between comics work, oil
Paul’s been reading comics since he painting, and teaching Spanish part-
was a kid, his early favorites, the time.
Fantastic Four, Spider-Man, and
Glynis Wein was born in Eng-
Kid Colt. Paul has been drawing for
land, and rasied in England and
just about as long, and has attended
Huntington, Long Island. With Mar-
New York’s High School of Art and
vel since 1972, Glynis has won many
Design and the School of Visual
fan and professional awards for her
Arts. Paul discovered coloring along
distinctive and beautiful work. Glynis
his way toward becoming a penciler.
has colored all the Marvel mainstays,
With Marvel since 1982, Paul enjoys
as well as many special projects
coloring tremendously, and hopes
during her celebrated career. Glynis
Mavel will someday bring back Kid
Marie Severin could easily be the enjoys watercolor painting in addi-
Colt!
subject of a whole book. After tion to her comics work.
studying at New York’s Cartoonists
and Illustrators School, Marie be-
came the head colorist for the
legendary EC Comics line of the
1950’s, where she colored such
comics as Tales From The Crypt
and Mad. “Adopted” by Stan Lee
in 1956, Marie freelanced for
Marvel until she came on staff in
1965. Marie has colored, penciled
George Roussos has been work- and inked every form of comic strip
ing in comics since the early 1940’s, from THE SUB-MARINER to her
Andy Yanchus was born in
when he worked with Bob Kane on wonderful cartooning for NOT
Brooklyn, New York in 1944, where
the original Batman strip. Under the BRAND ECCH and CRAZY.
he still lives. After attending Pratt
pen-name George Bell, he has inked Marie has taught and influenced
Institute, Andy worked for Aurora
many of Marvel’s top books, in- nearly everyone in the comics field
cluding the FANTASTIC FOUR. Products, and helped develop the
with her skill, dedication, and wit.
George credits illustrator Stan Kaye well-known Aurora models of
for much of his professional education. monsters and comic book characters.
A talented and experienced artist, Andy came to Marvel in the mid-
George has been a regular Marvel seventies, where he served a term as
cover colorist for the past thirteen head of Marvel’s coloring depart-
years. George enjoys experimentation ment. Andy now colors fulltime for
and invention in his work, the results Marvel, where his work can regu-
of which can be seen on many Marvel larly be seen in DAZZLER, CRYS-
covers and in the work of the many TAR, ALPHA FLIGHT, and MAR-
professionals whose work he has VEL TALES.
influenced.

27