buying today’s graphic novels. The market still gears itself toward that original demographic, thus, the more mature themes and storylines.” Fernando Brazuna, penciler, describes the golden age of graphic novels as the point in time when comics were “crystallizing,” and the graphic novels of today as having greater “body and direction.”
Content is not the only changes that have occurred since the golden age of comics. Sarah Perryman, a self-described “digital colorist” said, in “comics… of the 1940s… colorists hand colored the comics and were limited to sixty-four colors – carefully planned combinations of cyan, magenta, and yellow. … As technology expanded, so did the color choices” with comic colorists gaining atention as artists. “We still use CMYK colors, trapping, and color separation to create a page that will print well,” but digital technology has freed the artist. Looking through her series called DynaGirl, it is easy to look at Perryman’s work and see the skill that a colorist brings to the collaborative process - you can see the shadows and nuance that are an invention of the colorist.
So, if you are prety good at sketching out super-heroes, are you all set for graphic novel stardom? Fernando credits a background in classic literature for expanding his critical perspective of plot and dialogue. The artists involved in the creation of these works here have all paid their dues, through independant years of building their skills along with undergraduate and graduate work. Yet, all of those interviewed could trace their interest in
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