The greatest influence on my coloring style is @leeloughridge, who used to let me watch him work, over a decade ago. #coloristappreciationday
One time he was coloring a cover to Spider-Man/Black Cat, and requested my assistance:
"So, uh, what color is Spider-Man?"
"Red and blue?"
"Yeah, but, like, what kind of red? More crimson or orangey?"
"I don’t know. I mean, it’s pretty red."
"I’m just messing with you."
Back then, we were all coloring by making selections with a mouse! I didn’t work at his studio, but I had a couple of friends doing flats there. When I think of the kind of studio environment I’d like to have someday, Xylonol is still the space I imagine.
And even though I’ve been on a tablet for ten years now, I still use many of the tools and all of the methodology I picked up from hanging out with Lee those occasional evenings after comics classes, often trying to raise my game by working on Hellblazer pages by Marcelo Frusin without checking to see what Lee had done until I’d finished mine.
Anti-alias can go to hell. Close your lines. Flat from the back. Subtract selection. Back up the black. Pencil tool forever. One color, one cut, unless you want to get fancy.