My "Method" As it Were....

I'm finishing up the prologue and will be preparing it for publication shortly, but  at the moment I am in search of a colorist ( for reason that will become obvious shortly) so in the meantime I thought I would highlight several panels that are in various  stages of production so that I can show how it is that I do what I do from the  first rough sketches to the finished product.
  Speaking of rough sketches, here is one of young Peyung fighting the original Kung Fu Rabbit, and losing.  I do these really rough, and often change the positions of the limbs several times before I'm over.  I don't normally leave them  this messy, but I couldn't find my eraser.

 

  Once I decide where I want the limbs, I pencil it in with a tad more certainty, and erase the extra lines.

From there I frame things up with a ruler and  sharpie.  I  ink it with a series of  round brushes of various sizes and Black Magic ink. I commit horrible crimes with my eraser once the ink dries.  I will occasionally jot possible dialogue in the borders between frames, and these frames aren't in any particular order other than what would fit on the paper.

  Eventually these will be assembled into the right order, dialogue added, and made ready for publication.

 

  Alas, here is where I run into a wee problem.  I am not a digital colorist,as I have proven on other  projects. I also want a very organic color scheme to the prologue all of which takes place  in and around the ancient rabbit temple.  To get that look, I  broke out my watercolor pencils and  colored some pages then scanned them in. Apparently the scanner function on my copier/printer/scanner was added as an afterthought because even at it's best, it makes my colors look all washed out.  This looks much better in person, and so far, no amount of digital tweaking can  fix the washed-out look.

 

  The search is on for a colorist who can see the picture that's inside my head, and will work for free, or at least for  so cheap that it would appear to be working for free. They also need to be able to  shift gears to a non-organic color scheme once the scene shifts away from the rabbit temple to the outside world. That's a tall order for 'free'.  I intend on giving the eventual colorist full credit, and I would be happy to share  money with the colorist if the money ever arrives, but in the meantime, if you know anybody, let me know, ok?