Colours

[Søren Krarup Olesen]

FRANCOIS:

> If I had to vote for the best Hachette publication, it may be "Super
> Picsou"! It publishes new Danish stories, together with very old Italian
> stories, and Western stories. And Cavazzano do all covers.

The way you describe it, I am sure it would push JM out from my Top-3
:-)

DON and AC:

> ...Paper quality
> is not even important -- I prefer the way colors sink in to the cheaper
> paper, like in ZIO PAPERONE or the old Dell comics. I think the way color
> sticks to the surface of glossy paper is garish and hides or overpowers the
> art.

Couldn't agree more, however AC wrote (to Stefan):

> > The only bad thing is the colouring of the story. Why can't 
> > Egmont do as good colouring as the French publishers?
> That is not only the only problem, that's the always returning
> problem... It seems they use
> a colouring method that is called flood fill! They aren't able to make
> a colur change from the top of the panel to the bottom (skies eg.).
> Picsou and other mags do that... Picsou does it very nice with the new
> story the Coin.

So, AC, you'd actually prefere these IMO "fake" colour changes we see in
Journal de Mickey, KLASIKA and KOMIX? If the glossy paper in itself
"overpowers" the art, those fading colours most certainly overdramatise
the sensation of the stories. Apparently they all use the same standard
procedure; lightblue/white in the bottom fading to darkblue sky on top.
It make the stories look as if they all take place an hour before
sunset. Especially the "open" stories with few background details
suffer; the old Barks stories and Cavazzano's masterpiece "Paperino e il
pacco dinamitardo" looks strange. I haven't seen Don's "The Coin"-story
yet, but I would guess that the art is less fragile towards computer
colouring--there are usually so many other things that attracts your
attention.

Søren