Jacquie Penn, England
Your choice of comics colours may look good on screen, but might print much muddier than you predicted. So I make most of my colour decisions based on specific ink values that I know will print well. Back in the old days of comics, colourists had a limited palette: initially 63, then later 124 colours, each of these colours consisting of a combination of cyan, magenta and yellow. .
For this reason, I always keep track of the ink proportions I’m using by inputting my colour values numerically, using the CMYK sliders in Photoshop’s Color menu (I always work in CMYK mode if the work is intended for print). I usually use multiples of five, so the basic flesh tone I used here equates to C= 0, M=15, Y=20. Then I used direct multiples of that to add shading (for example, C= 0, M=30, Y= 40).
This leads to a very natural gradation of colour that seems rich and organic, even if it isn’t photo realistic. This system also helps you prevent black creeping into your colours, which will muddy them up and obscure the detail in the inks.
I use a bright, old school colour palette to complement the clean line work and the fun subject matter. This fantasy pelt uses odd colouring and an arrangement of large scales to convey a strong sense of other-worldliness. Each of these silhouettes feels recognisable as an animal pelt, even without colour or fur detail. You can go wild with texture and detail.