Bryan Talbot's Grandville Mon Amour nominated for Best Graphic Story!
04/25/2011 12:32pm
The 2011 Hugo nominees have been announced, and our own Grandville Mon Amour is up for Best Graphic Story!
Initiated in 1953, the Hugo is presented each year by the World Science Fiction Society for achievements in science fiction and fantasy storytelling. The Best Graphic Story category was first included in 2009. Previous nominees include Fables, Serenity, Y: The Last Man, Batman, and more.
Chris Warner, editor of the book says: "Bryan Talbot is rightly regarded as one of the most innovative creators in all of comics, but I've always felt that his incredible skill as a science-fiction visionary has been a bit overlooked. Looks like I was wrong!"
In Grandville Mon Amour, convicted psychotic killer Edward "Mad Dog" Mastock escapes the guillotine's blade in the Tower of London to once again terrorize the Socialist Republic of Britain. Dogging Mastock's bloody footsteps is his longtime adversary and nemesis, Detective Inspector Archie LeBrock, who is intent on bringing Mastock's horrific murder spree to an end. LeBrock follows the trail of carnage to Paris, otherwise known as Grandville, the largest city in a world dominated by the French Empire and the prime target of Mastock's terrorism. Set three weeks after the finale of Grandville—Bryan Talbot's critically acclaimed steampunk graphic novel—Grandville Mon Amour explores an alternate art nouveau world populated by intelligent animals, a human underclass, robot automatons, and advanced steam technology that powers everything from hansom cabs to iron flying machines.
Congratulations to writer and artist Bryan Talbot, editor Chris Warner, and the entire Dark Horse team responsible for bringing this amazing work of art to life!
Don't forget to pick up Grandville and Grandville Mon Amour at your local comic shop or bookstore, or your favorite online retailer.
Also, check out this making of feature where Bryan Talbot outlines his creative process on a panel from Grandville Mon Amour.
1. Pencils
The pencils for panel one, page 42, done traditionally on a drawing board. You can see where I allowed space for text, estimating the size of the speech balloons and placing them so that the order in which they’re to be read is obvious.
2. Inking
Next, the pencils are inked using a mixture of pens and brushes. After inking, the pencil lines are erased and the artwork scanned into the computer. The inks are cleaned up and any smudges or mistakes corrected. Traditionally this was done using white gouache paint. This is the point where I add the balloons, using my own font. The lettering layer stays on top of the others.
3. Colouring
Next come the colour flats: the different areas of the illustration that are selected and filled with different solid colours on a layer beneath the linework. Just over half the colour flats in Grandville Mon Amour were done by Jesse Kindzierski, daughter of the famous US colourist Lovern Kindzierski. The rest by my mate, the designer Jordan Smith. Having someone else do the flats saves time and enables me to start on the rendering.
4. Adjustment
I can then select each area easily by using the Magic Wand tool, change or adjust the colours and render them in a way that’s very similar to painting, mainly using the Dodge and Burn tools and the Airbrush to create the light, shade, and texture.
5. Finished!
And here’s the finished panel. The smoke and light effects are painted in white on different layers over the black line layer. Finally I’ve added a green colour layer at 18 percent opacity to this and the rest of the panels in this sequence to add atmosphere to the chapter.
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Initiated in 1953, the Hugo is presented each year by the World Science Fiction Society for achievements in science fiction and fantasy storytelling. The Best Graphic Story category was first included in 2009. Previous nominees include Fables, Serenity, Y: The Last Man, Batman, and more.
Chris Warner, editor of the book says: "Bryan Talbot is rightly regarded as one of the most innovative creators in all of comics, but I've always felt that his incredible skill as a science-fiction visionary has been a bit overlooked. Looks like I was wrong!"
In Grandville Mon Amour, convicted psychotic killer Edward "Mad Dog" Mastock escapes the guillotine's blade in the Tower of London to once again terrorize the Socialist Republic of Britain. Dogging Mastock's bloody footsteps is his longtime adversary and nemesis, Detective Inspector Archie LeBrock, who is intent on bringing Mastock's horrific murder spree to an end. LeBrock follows the trail of carnage to Paris, otherwise known as Grandville, the largest city in a world dominated by the French Empire and the prime target of Mastock's terrorism. Set three weeks after the finale of Grandville—Bryan Talbot's critically acclaimed steampunk graphic novel—Grandville Mon Amour explores an alternate art nouveau world populated by intelligent animals, a human underclass, robot automatons, and advanced steam technology that powers everything from hansom cabs to iron flying machines.
Congratulations to writer and artist Bryan Talbot, editor Chris Warner, and the entire Dark Horse team responsible for bringing this amazing work of art to life!
Don't forget to pick up Grandville and Grandville Mon Amour at your local comic shop or bookstore, or your favorite online retailer.
Also, check out this making of feature where Bryan Talbot outlines his creative process on a panel from Grandville Mon Amour.
1. Pencils
The pencils for panel one, page 42, done traditionally on a drawing board. You can see where I allowed space for text, estimating the size of the speech balloons and placing them so that the order in which they’re to be read is obvious.
2. Inking
Next, the pencils are inked using a mixture of pens and brushes. After inking, the pencil lines are erased and the artwork scanned into the computer. The inks are cleaned up and any smudges or mistakes corrected. Traditionally this was done using white gouache paint. This is the point where I add the balloons, using my own font. The lettering layer stays on top of the others.
3. Colouring
Next come the colour flats: the different areas of the illustration that are selected and filled with different solid colours on a layer beneath the linework. Just over half the colour flats in Grandville Mon Amour were done by Jesse Kindzierski, daughter of the famous US colourist Lovern Kindzierski. The rest by my mate, the designer Jordan Smith. Having someone else do the flats saves time and enables me to start on the rendering.
4. Adjustment
I can then select each area easily by using the Magic Wand tool, change or adjust the colours and render them in a way that’s very similar to painting, mainly using the Dodge and Burn tools and the Airbrush to create the light, shade, and texture.
5. Finished!
And here’s the finished panel. The smoke and light effects are painted in white on different layers over the black line layer. Finally I’ve added a green colour layer at 18 percent opacity to this and the rest of the panels in this sequence to add atmosphere to the chapter.
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