Making The Legend of Halloween Book Cover Part 2
Thanks for checking back for the second part of this two part post about how I created the Magical World of Sebella: Legend of Halloween book cover. In part one we discussed how I started this project learning the clients expectations and how the client suggested scenes from the book that might make good imagery for the cover. Next, based off these discussions how I design characters to fit into this magical world. Finishing up last weeks post with talking about how I created a final Black and white line drawing, got it approved, and ready to be colored. This week I’m going to show you the process I used for coloring the entire image and how I finished the project up by laying the cover out in InDesign. If you’d like to read part one you can find it here.
For my coloring process I screen recorded the entire session of me painting the cover. This process was over several days and the video is sped up quite a bit. I think it took me about 10 hours to paint the cover and the full-length of the video is about nine minutes. I hope you enjoy zooming through 10 hours of my life.
When coloring I normally use five or six different tools: brush, eraser, gradient, smudge, lasso selection, and the magic wand tool. In this case I took my color rough and snapped it to the right side of my Photoshop layout, just for reference as I’m adding color. In this illustration’s case the first thing I started with was a gradient just to establish a base color. From there I roughed in some of the background elements. Once I was happy with the rough background I began adding a base color for the characters. For me, it’s easiest if I use the brush tool and establish the outline of the area I’m trying to fill and making sure there are no open areas. Using the magic wand tool I select the inside of the area. Once that selection has been established I expanded anywhere from two pixels to six pixels out as to avoid the nasty pixel ring that can be left behind if you don’t expand your selection. To do this quickly I create an action in Photoshop that expands my selection two pixels out. Once the flat colors are laid down for all the characters, I begin establishing some quick shadows on the characters using the gradient tool. I know a lot of artists don’t like to use the gradient tool, they say it makes it feel more computer-generated and for the most part I agree. Since this is just the base and I’ll come back painting over these areas later, I don’t have a problem starting with the gradient tool. It just helps me define shapes. Now I’m going in and adding a few lines to faces and areas so I won’t need to use my sketch layer anymore. I never delete the sketch layer until the end because I will refer back to it several times.
At this point (2:00 minutes in) in the drawing I’m looking at it and not really enjoying the way the characters are turning out. There’s a lot of things that I could nitpick about it but instead of scrapping the entire picture I decide to focus on the background. Hiding the characters layer I find myself enjoying the task of painting the background and it really energizes me for the rest of the image. Sometimes I find myself worrying about silly things like the way layers are organized and making sure I use selections so that I don’t paint outside defined shapes. When I feel this way I normally do the scariest thing I can, which is flatten the image. It helps me let go of all that silly stuff and just paint.
Once again happy with the background, I turn my attention back to the characters. When I find myself unhappy with a part of the painting it’s nice to focus on something else and come back later to the problem areas. Just don’t wait too long. Remembering to flip the canvas horizontally helps me see the problem areas of the image. By flipping the canvas you can see the image in a whole new light. Sometimes I’m staring at a drawing for too long and I start to gloss over the mistakes I’ve made. In this case a characters eye was to low on his face and when I flipped the canvas I was able to correct this mistake (3:30; it goes by really quick). I continued to add details where needed. I added some needed color to the sky and bats flying in the background. Now back to refining the characters. I start adding darker shadows and highlights of the edges of characters to help better define the light sources. Finally, I add details, details, and more details. My last few steps are to add some missing pieces of candy (7:45). A color adjustment layer and a dark blue gradient from the top of the image to help sell the idea of night. It also helps the title pop off the page a bit more.
Once again I send this image to the client and her only change is to make the text “The Legend of Halloween” a different color.
Now that the cover is approved it’s time for me to lay out the artwork in Adobe Indesign. With this cover there was also a design element which was designing the back cover and spine of the book. The author had already sent me the text for the back, so it was really just a matter of defining the colors, coming up with some decorative elements, adding the UPC code area and applying some of the design elements from the back cover to the spine.
I hope you enjoyed my process for creating this cover. It was well worth it and I really enjoyed creating it. I really appreciate Thea Berg allowing me to share all of this with you. If you have any questions about this process please leave them in the comments below and I’ll be sure to answer them.
About the author
- NORM GROCKContributor, Founder
Having grown up on the shores of Maui, Hawaii, Norm has always had a love for drawing. Since leaving the Islands’ beautiful beaches and landing in Oregon he went to college and received a degree in graphic design. Now living in Beaverton, Oregon, Norm has been working as a full-time graphic designer and illustrator for the last 12 years. He has spent countless hours perfecting his craft as a freelance illustrator working on several children’s books, a few video games and creating numerous educational products. His ability to draw has given him the chance to do the thing he truly loves — Create.