Arguably our most beautiful prints yet! Available while they last via our official online store.
WAYNE ALAN HAROLD: Still working on restoring Craig’s original coloring for The Jungle Book. Just wanted to post a scan of a page of his “raw” coloring. This one is in surprisingly good shape, but I’ll still have to touch it up a bit. Getting these images onto my iPad Pro is making things easier—using the Apple Pencil really helps to streamline this type of workflow.
P. CRAIG RUSSELL: Put the finishing touches on the final page of my comics adaptation of The Giver yesterday, a project that’s taken about five years (interrupted by The Graveyard Book). I don’t always work in sequence, so this final page is from Chapter 20. Working with Galen Showman. I did layouts, he did blue pencil ‘pencilling’ and I did pencil ‘inking’ and ink wash. The bicycle at the bottom is entirely Galen’s——he has a genius for meticulous mechanical detail. And aren’t I happy about that?
Virtuoso: A P. Craig Russell Adult Coloring Book is an 8.5 inch x 11 inch softcover book. There are 40 images to color, printed on one side of the paper only to eliminate color bleedthrough, with a total of 80 pages in the book itself. The paper is a nice, bright white, unlike the coloring books of days gone by. Pages are perforated so that your masterpieces can be removed from the book and suitably framed for public display in your personal art gallery!
“An awesome showcase of (Russell’s) unparalleled talent. I don’t often follow crowdfunded projects but this is one I’m proud to have contributed to without hesitation…and I was not disappointed. Bravo!” – Customer Feedback
This beautiful adult coloring book is now available in three different editions!
Working away on “P. Craig Russell’s Jungle Book and Other Stories”—our very first 12X17” hardcover “Fine Art Edition” which features full-color reproductions of Craig’s original pages. It’s the next best thing to owning the original art! If all continues to go well, we’ll be sending it out to print early next month. #pcraigrussell #junglebook #fineartedition #comics #art #drawing #illustration #waynealanharold #publishing #artbook #mac #screenshot #affinityphoto
P. CRAIG RUSSELL: This beautiful book arrived in the mail today. A collection of Mike Mignola’s DC stories dating back 25-30 years. I inked the four issues of The Phantom Stranger and a very cool issue of Superman over Mike’s pencils.
Order The DC Universe by Mike Mignola at Amazon.com.
First: Working from the source material. The bottom paragraph on this page paints a scene in a series of impressions with slices of horrific detail:
Second: Using that paragraph to structure a scene that goes from extreme closeup, the horse’s terrified eye, to a long shot as boy and horse are blown back by the falling bomb. Panels 1-3 work as a unit and belong to the horse in its flight. Panel four is larger, stands on its own and brings together the horse and the boy. Panels 5-7 belong to the boy and show his flight from the falling bomb. Panel 8 is larger, stands on its own, and bring boy and horse together again in the explosion:
Third: Using the layout as a guide, artist Scott Hampton makes it happen. I love what he did with the first panel, the terror in the horse’s eye. As a layout artist this is exactly what you hope the finishing artist brings to the table:
Fourth: In the hands of the colorist. Working with Lovern Kindzierski I told him we want only single flat color for the memory sequences. For war, naturally, red. We discussed a series of reds and settled on a hot, almost orange, red. Then, do we color everything red, or use white to make certain things ‘pop’? My original intent was to color it all red save for the boy who is visiting this scene in his mind. Giving him no color at all removes him, in a sense, from the events he is witnessing. But we both agreed that adding white to the sky gave an added dynamism to the scene:
One down, 177 to go.
P. CRAIG RUSSELL: A page from the upcoming comics adaptation of Lois Lowry’s The Giver. An example of true collaboration. I scripted and designed the page. Scott Hampton did the art for the memory panels. Galen Showman ‘pencilled’ the rest of the page in blue pencil and I provided the finished pencil ‘inks’ and ink wash. Lovern Kindzierski added the color over Scott’s panels. The mono color is used in all the memory sequences to differentiate the use of color from the last three chapters that have full inks and full color.