Last week we presented Paolo Barbieri, the author of the manifesto Mantova Comics & Games 2009 . And since we are full of enthusiasm and want to do, we do not stop here certainly, however Mantova Comics & Games is an event that brings enthusiasm - ours and yours - his main weapon.
This week we present here the Making Of poster of the 2009 edition, with commentary by Paul in person, the intent is to bring you "inside" to the birth and "construction" of the great picture of Paul, the pencil to the final version.
Why, it is worth remembering, Mantova Comics is proud of the authors of today but also tomorrow.
Step 1
"Usually when I leave a drawing made several schizzi, per poi scegliere quello che mi convince di più. Prima di fare questi, devo dire che mi faccio un'idea mentale di come vorrei fosse l'immagine finale. Per il manifesto di Mantova Comics 2009, avevo già in testa una visione del Tazio abbastanza ravvicinata, in cui fossero evidenti i meccanismi della tuta. Anche per l'inquadratura da dare al disegno ero già sicuro di dare un taglio un po' diverso dai precedenti, in cui il Tazio volante sarebbe entrato da una parte, senza sfruttare tutto lo spazio verticale del manifesto."
Step 2
"Successivamente importo lo schizzo al computer. Nella bozza a colori, cerco di rendere velocemente l'effetto delle
lights and colors of the final design. This phase is the most complicated, because often I did not immediately
a clear idea of \u200b\u200bwhat colors to use: we say that all ages
a draft initial gray. To differentiate the poster from the earlier ones I had in mind
to use the green as background color, but the details and reflections of the character came out with the progress of
sketch. "
Step 3
"The following is the longest, or the color of the detailed design and all the details. With the draft as a base color, digital color proceed with all programs such as Painter and Photoshop. I use levels also extremely useful for the final balance of colors. Often compared to colored sketch, makes numerous changes, especially in the details. I usually do not use them much, but in this drawing I wanted to highlight a lot of the backlight, especially strong here especially for the effect of light given by the rockets. I also wanted to take effect "brushstrokes" quite strong, quite evident in the clouds behind the character. "
This week we present here the Making Of poster of the 2009 edition, with commentary by Paul in person, the intent is to bring you "inside" to the birth and "construction" of the great picture of Paul, the pencil to the final version.
Why, it is worth remembering, Mantova Comics is proud of the authors of today but also tomorrow.
Step 1
"Usually when I leave a drawing made several schizzi, per poi scegliere quello che mi convince di più. Prima di fare questi, devo dire che mi faccio un'idea mentale di come vorrei fosse l'immagine finale. Per il manifesto di Mantova Comics 2009, avevo già in testa una visione del Tazio abbastanza ravvicinata, in cui fossero evidenti i meccanismi della tuta. Anche per l'inquadratura da dare al disegno ero già sicuro di dare un taglio un po' diverso dai precedenti, in cui il Tazio volante sarebbe entrato da una parte, senza sfruttare tutto lo spazio verticale del manifesto."
Step 2
"Successivamente importo lo schizzo al computer. Nella bozza a colori, cerco di rendere velocemente l'effetto delle
lights and colors of the final design. This phase is the most complicated, because often I did not immediately
a clear idea of \u200b\u200bwhat colors to use: we say that all ages
a draft initial gray. To differentiate the poster from the earlier ones I had in mind
to use the green as background color, but the details and reflections of the character came out with the progress of
sketch. "
Step 3
"The following is the longest, or the color of the detailed design and all the details. With the draft as a base color, digital color proceed with all programs such as Painter and Photoshop. I use levels also extremely useful for the final balance of colors. Often compared to colored sketch, makes numerous changes, especially in the details. I usually do not use them much, but in this drawing I wanted to highlight a lot of the backlight, especially strong here especially for the effect of light given by the rockets. I also wanted to take effect "brushstrokes" quite strong, quite evident in the clouds behind the character. "
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