Byron B :: Color Guides - X-Men: Alpha (1995) - Age of Apocalypse

X-Men: Alpha Page 18 - Age of Apocalypse - Color Guide

Artists: Roger Cruz (Penciller) , Steve Buccellato (Colorist)

0 Comments - 95 Views - 2 Likes

X-Men: Alpha Page 18 - Age of Apocalypse - Color Guide Comic Art

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Artwork Details

Title:	X-Men: Alpha Page 18 - Age of Apocalypse - Color Guide
Artist:	Roger Cruz (Penciller)
Artist:	Steve Buccellato (Colorist)
Media Type:	Paint - Watercolor
Art Type:	Color Guide
For Sale Status:	NFS
Views:	95
Likes on CAF:	2 3
Comments:	0
Added to Site:	8/8/2024
Comic Art Archive:

Description

In communicating with Steve Buccellato via email, I asked him a few questions about his work on X-Men Alpha, like who decided on the colors for the AOA characters; was it him who left the note on the front cover to Bob Harras, “Who is this?” 😛; and whether he was given much background on the story/characters prior to starting?

Steve graciously replied in detail:

"If I remember correctly, the colors of the AOA characters were mostly chosen by me. In some cases, a color sketch might have been done by Joe Mad, but usually that was not the case. If a character was crossing over into another title, the colorist or artist of that book might have some say, but I think they are mostly done as I go.

I don't know who made that note about Rogue to Bob- That was a special cover with a metallic printing - SO I don't think we did the color separations on-house at Electric Crayon. Whoever worked on that for the printer was probably checking the characters. Rogue is actually my favorite X-Man (X-Woman?), so I would not be confused by her appearance!

Unfortunately, I don't remember a lot about the background info, but I can tell you that Alpha and Omega, like ALL X-Men titles, were produced on a ridiculous last-minute schedule. It was rare to have what I'd consider to be an adequate amount of time to develop character designs. Especially on these big crossovers. I think the writers had more time, generally, in the planning of the major crossover events, with big meetings and retreats organized to work out all the story points with the editors, but the artists had less time, and we colorists were barely involved. Almost never involved at the conceptual stage. Usually, we were thrown into the process at a very late stage, with the deadlines perilously close to being blown. We had to figure a lot of stuff out just by comparing unlettered pages to the scripts, without a lot of guidance. Totally insane way to work.

Generation X was an exception, where I was consulted earlier than usual to try different color schemes for the characters."

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