Interesting career choice

An illustrator?

Uderzo, who was colour blind,

9 thoughts on “Interesting career choice”

  1. Division of labour. In cartoons, or comics, or comic novels, there are people who do the story, draw or sketch, draw the bubbles with dialogue and other text, and colour the pictures in.

  2. The Meissen Bison

    The stereotypes with which he made such affectionate play in his cartoons – the haughty Spaniard, the chocolate-loving Belgian, the stiff-upper-lipped Briton – seemed to be just what a continent left prostrate by war and nationalism were secretly craving.

    Well that’s going it a bit. The Asterix stories appeared as weekly two-page episodes in a French children’s comic from around 1960. So “a continent” was not the intended audience and readers would have to have been eighteen or more to have any recollection of the war or occupation.

  3. “colour blind” is a fairly meaningless term for someone whose brain does not distinguish between shades of red and green in the same way as the “norm”. I am classed as colour blind but I can distinguish the traffic lights,can tell the difference between viridian and vermilion…

  4. I’d imagine being colour blind could be an advantage in that sort of work. I occasionally do pencil portraits from photos & it’s much easier if I take the colour information out of images & just work from the grey-scale. Although sometimes I’ll put a bit of colour back in with a watercolour wash once the sketch is established. But I wouldn’t pretend to be an artist. I couldn’t do the same from a life model. Too much information to process. I came to this through doing working drawings for interior design work. It’s not really art at all. It’s all technique.

  5. I don’t know how much myth and how much reality, but he allegedly left the colouring-in to others early on after the initial outing of Asterix in Spain (2nd book) contained a green horse.

  6. How does Holland sleep, being so obsessed with the past?

    He is a sick puppy.

    ‘I failed to notice what now, with the sombre perspective of adulthood, I can recognise as perhaps the single most glaring inaccuracy in the series’ portrayal of Caesar’s conquest of Gaul: nobody dies.’

    That is not adulthood. You are a dick. Obsession with the past is not adulthood. Trashing kids comics is not adulthood. But it is perfectly Guardian.

  7. In the London Review of Books, a key place to check on current intellectual Groupthink and shit weaselism, a critic spent 2073 words dissing the immortal Molesworth, chiz chiz

  8. What Jussi pointed out… The Studio’s employed inkers, colourists, letterers, etc. to finish the pictures provided by the artist after the scenarist wrote the story. All specialisms in the Making of a Comic.

    Besides.. Asteríx, especially early on, never went into fancy colouring schemes. Most of it was paint-by-numbers. Which Uderzo actually seemed to have used in his setup because of his coulourblindness. He certainly must have known the coulourist reference codes used in the Studios. Small step from that to Organising Your Pots of Ink.

  9. The Meissen Bison

    Matt – Your post made me dig out my copy of Astérix en Hispanie and it is ©1969 so well on in the series, I think, rather than number two – or have I misunderstood? Looking at the menhir on the back cover which lists the adventures in order of publication, this one appears to be number fourteen. I shall now look for the green horse unless you point me elswhere…

    Diogenes – I applaud “shit weaselism” and anyone who disses Nigel deserves to suffer extreme prejudice by means of a ray gun, retailed (but who am I telling!) by messrs Grabber & Grabber.

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