Work-In-Progress

This is part of an illustration I'm doing for work and it's scheduled to run a week from today.

For my cartoony-er stuff I really like to pour on the garish colors. When I have these weird and ugly types of characters I feel it adds to the fun if they have green skin and orange pants and purple hair. I make every effort to control the color in most of my work, but for the wackey-fun stuff I try to ignore it if my color-sense is tingling.

One of the hazards of my occupation-- illustrator and graphics guy for a newspaper chain-- is the printing process itself. Everything I do runs in several newspapers and is printed off of-- I think-- three different presses. During a print run quality varies. As ink runs low it is replaced on the go; so, for example, you will see some copies are running low on magenta and the colors seem dry and rusty, then, when the ink is refilled you will find vivid or over-saturated copies. This can happen with ALL the colors so there are many interesting variations to be had.

And then there is the registration of color plates. One of our presses in particular, as I understand, is very old and there is a good deal of off-register printing coming out of that one.

To top it all off newspapers are printed on newsprint! Considering all these factors I've come to regard each copy as a monoprint of sorts. Unique! One of a kind!

So the point of all that was to say that I've found, by using a reckless palette, no matter how dried out or oversaturated or off-register an illustration happens to print, it retains it's characteristic madness on the page even if it comes out much differently than I'd hoped for.

The End.