First, I took some time to try my hand at actual drawing/inking/painting. I don't do this as often as I should to confidently call myself a penciller/inker/painter. My work is practiced enough to get by, but, fumbling with a 513EF crowquill pen that would just NOT flow across the page like I wanted, I convinced myself once again that it was just not for me. Part of the problem is being so familiar with excellent artists like our CAD artists Scott Rosema, Bill Bryan and James Lyle. These guys are so masterful with their tools I pale in comparison. Another part of the problem is my frustration level. I know that after years of inking every day, it will become easier. I know this, but can not force myself to produce the inferior work until I get there.

Of course, "inferior" is a relative concept. I'm always harder on myself than others, who regularly praise me when I do illustrate here and there, in a pinch. If I hadn't grown up in the computer age, I'm sure I would have become one of those many assistants Leonardo used to take care of the details while he handled the overall. I'm comfortable with that.

The second event that altered my views of computer coloring happened when Terry Cronin, independent filmmaker and self appointed Student Body President of Students of the Unusual, sent me the third short horror story involving his homeless storyteller "Uncle Pat." I have enjoyed Terry's tales immensely since the "Students of the Unusual" anthology comic began in July of 2004. His artist, Jorge Calamato, is an old-school illustrator with an effortless style and grace. The stories are a pleasure to color and letter.

This time, Jorge's artwork seemed to be uninked pencils. He must have seen the first two comics when I did and realized the production values of "Students of the Unusual" are way beyond the standard comic book. Inked artwork is necessary on the inexpensive paper used in most comics today. With this book's thick, glossy paper and quality printing, more subtle styles are acceptable.

I was, of course, familiar with computer coloring over uninked pencils. It still hasn't caught on, but several impressive examples are out there.

DC Comics tried going over Gene Colan's pencils in the groundbreaking detective series "Nathaniel Dusk." In two miniseries in 1984 and 1986, Tom Ziuko tried applying traditional coloring techniques to Gene's pencils. The coloring didn't work at all, but I admire their efforts, and it's worth it to see Gene's pencil work. He is, of course, one of the artists that helped build Marvel into a powerhouse in the '60s. I don't know if "Nathaniel Dusk" was done on computer - DC seemed to be willing to try anything in the '80s and you can see the history of computers unfold through their efforts to hone production techniques.

I'm pretty sure the thinking was, "If we can eliminate inking, we can eliminate the time and expense of hiring an inker." The big companies soon learned, however, that computer coloring over pencils was very, very time consuming, more than eating up any savings gained by not hiring an inker!

Avalon Studios did a beautiful job when Brian Haberlin (and others) colored with Jay Anacleto's artwork in "Aria" in 1999. It only ran for four issues, but I have the first two sitting by my computer, since I always wanted to try that kind of treatment.

Previous efforts tried traditional, thinking of the black channel as strictly for the pencils with other colors layered over. It looks like the "Aria" team realized that in order to work with pencils, the computer often needs to use all four channels, removing the pencils from the black channel and using it in one color, or different colors, to blend with the overall coloring.

When writer Peter David revamped "Captain Marvel" for Marvel Comics in 2002 he took on the team of penciler Chriscross and coloring by Chris Sotomayor. For me, this series stands alone as the single most successful attempt at combining pencils and computer. I remember wandering around conventions that summer, showing artists the number one, wondering why no one was excited about this revolutionary look. In 1988, it would have caused a sensation!

More recently, Neil Gaiman's "Marvel 1602" is not only a hoot of a read, but is beautiful to look at, due to digital painting by Richard Isanove with Andy Kubert's pencils.

Back to me and "Tales of the Unusual." Through Terry, Jorge sent me some examples of what he was thinking for color. It wasn't the special effects laden "Captain Marvel," or the heavy, painted look of "Marvel 1602." His example looked like watercolors. I was a little lost - I couldn't use any of the computer coloring references I had been admiring for 20 years with this one. So I thought about it.

Jorge wants watercolor, he'll get watercolor. I looked up some old "Heavy Metal" magazines with great watercolor work and did some experimenting, thinking of Photoshop's "watercolor" filter. I soon learned that I needed to take my own advice to others - the computer will not do it for you. I pulled some colors from Jorge's sample and came up with my own in Photoshop's Pantone pastel pallette. I knew anything too strong would not work - no large areas of deep reds, for instance. I softened just about everything, as if the paper were showing through thin, wet paint. And, for the first time in my comic coloring career, I did not "back up" the blacks to strengthen them - there weren't enough deep blacks to strengthen!

I find myself satisfied with the results, some pictured below, much more satisfied than I ever was by my own watercolor painting. But I realize that if I had not practiced watercolor, I would not have been able to think through the digital painting to achieve the correct look. I may not consider myself a great illustrator/inker/painter, but that knowledge and practice has greatly enhanced the work I consider my finest - preparing art for publication.

Gee - maybe I should pull out that 513EF crowquill pen again for another try.

Coloring and lettering is from Gary. Copyright Students of the Unusual (www.studentsoftheunusual.com).