Omi Remalante Jr. Born and raised in Manila, Philippines. My passion for comic books goes a long way starting at the early age of 5.
I have worked with several independent titles such as Zenescope Entertainment. I’m currently working for Image Comics, Valiant Entertainment, and Dynamite Entertainment. Presently working on Dynamite’s Pathfinder Worldscape and KISS: the Demon.
I would like to start off by thanking you for your time in taking part in this Q&A for Mira's Run.
Hello to our Readers today our Q&A is with Omi Remalante, might be noticing that we have covered 3 artists that have worked at Zenescope Comics. Last year ok a few years ago I did an Interview with Linda Ly. I wanted to know a little more about this company and came across a lot of talented artist. Jeremy Clark is an inker who has work for Zenescope and other indie companies. This time around I'm interviewing Omi (Remalante) a colorist.
So, before we start off on how you started in the industry, tell us a little about yourself.
I started out digital coloring and learning Photoshop around 2002. At first, it was all trial and error since there was no available tutorial or even YouTube tutorials at that time. I fell in love with digital coloring instantly. After a year, I landed a job at a local comic book publishing house. Became the color artist for some of their covers. The pay was not that great so I decided to leave the publishing house and worked full-time on advertising and marketing. After 8 years, I got bored at my day job and decided to tryout comic book illustration and digital coloring again. I posted some of my early works on DeviantArt and got discovered by Zenescope’s then editor, Matt Rogers.
I have also done a few indie comic books and was quite comfortable on digital coloring. I made a few mini-series titles at Zenescope and was discovered by Dynamite Entertainment, Image comics, Valiant Entertainment. Presently, I’m coloring the Pathfinder Worldscape mini-series for Dynamite / Paizo and KISS: the Demon for Dynamite. After dozens of titles, tremendous stress and deadlines, I still love what I do as a colorist and hopefully I can work on more titles in the future.
Knowing what a colorist is seems to be a simple question, but we both know there is more to just laying down flats in photoshop, correct?
Yes. First, you have to read the script so you know how to set the mood on every panel. You must learn the proper lighting, textures, and effects needed to bring the page to life. A color artist’s deadline usually is very short. So working fast and having few mistakes is really a must. How fast? 1 week deadline for one 22 page issue. There are times you are only given 5 days to color everything. Good thing I have very fast and reliable color assistants ( flat assists).
Is it very important in understanding color theory for what your achieving in scene/panel?
It’s really a must to know the color wheel. But for me, being self-taught, I never relied on the color wheel. Just instinct and my own judgement. Sometimes, I look at a few color artist I admire. Matt Hollingsworth, Christian Lichtner, Richard Isanove, Greg Tocchini, to name a few. Emulating their styles really helps even though you have limited knowledge using the color wheel.
The term Colorist
The colourist or colorist adds colours to the finished artwork, which can have an effect on mood and meaning. Colourists have to work with a variety of media, such as rubylith (in the past), paints, and computers.
Yes. I think that’s right. I haven’t got a chance to color using rubylith or even paints but the most old school thing I used for coloring was Crayons for color separation. True story.
This is what you are focus on and has become something of an art form of its own, how do you explain this to those who would like to take on this path?
Becoming a color artist is not an easy job. Like every art form, it takes a lot of practice. I started out being an illustrator and studied fine arts. It’s a must to learn the basic anatomy, lighting, especially the environment. You must make sure your colors are not too bright, too vibrant, or too dark. Avoid using colors with black tints.
Remember: it will take years of practice to get from one place to another. Being fast is essential but being fast and committing a few mistakes builds up a good reputation for all the editors to take notice of you.
And another tip, be humble and make sure you build connections who can help you make your dreams come true.
Colorist, who are they
Check Out his Work!
Understanding the fundamentals is really important, but what is really important for an artist to understand or have an understanding about who they are? How did you come this or have you ever thought this deeply about what you do or how you started?
I studied fine arts back in college and my father is also an artist so learning the basics was easy for me. When I was starting out digital coloring, I knew nothing about the fundamentals. I just copied the work of dozen of artists which I idolize. But after a few years, you’ll learn from your mistakes and will easily adjust your work when needed.
So what was it like receiving that first paycheck working in your desired field?
It was really fun of course. Knowing that the money came from your dream job.
Who are you Main influences?
Richard Isanov, Matt Hollingsworth, Christian Lichtner, Dean White, and a whole lot more.
If someone wanted to hire you for a project where should they look?
They can contact me through Facebook or send me a message at @comicbookcoloring/facebook
These questions are more or less about what others are thinking about, but what types of questions would you hear mostly from young inspiring colorist?
What type of software do I use and how long does it take me to color a page or an issue.
Knowing the processes that go into create a file, setting your brushes, and setting up the file?
I just use the default settings on my Photoshop CC.
What was the biggest issue issue that you run into when coloring and working on another artists work aka Pages or Covers?
When I worked with my friend Jonathan Lau on Dynamite Entertainment’s Solar Man of the Atom.
Also, could you explain do our readers what you go thru in steps if you will your day when working on a page on panel for a book/cover?
I give the black and white pages to my assistant to have it flattened out. After I get the flatted page, I’ll start coloring the background then the foreground. I usually work on 4-6 pages in a time. I can finish 8-10 pages in a day.
Question that I get asked more then once or twice does a colorist give off a unique impression or a voice to there work?
To clarify this meaning so others can understand, many just think its color by numbers buts its more then that. What would you say to this question?
Colorists has their own unique styles but usually, we know different styles of coloring cause we try to emulate what other colorists are doing. Most of the time, we just color in a style that would fit with the given artworks.
Thank you once again Omi, and I hope this interview helps out our readers. Please if you ya'll have any questions please send us message.
Sub-Cultred.com started and how Kimmie is apart of it.
Jack began his work both penciling and inking in various independent jobs with a variety of companies, in addition to freelance illustration for companies.
Leia is a freelance illustrator. Started to draw at age 7, is self-taught. She was drawing only for hobby. At school he has always been highlighted by drawings.