Questionable Comics is a series where Dan Hill surveys professionals from every corner of the comics industry about their methods and experience. This week is focused on colorists. First up is Triona Farrell, who colors titles at Boom and Titan.
What current projects are you working on?
Currently I’m on Assassin’s Creed for Titan Comics, I’m finishing up Weavers for Boom! and I’m on Big Trouble in Little China/Escape from New York also from Boom!. I also have a hundred things working on in the background, webcomics/colouring for indie projects back at home.
Use one word to describe how you work.
Focused.
What’s your workspace like?
I work from my office which is also my bedroom, so it’s a little crowded. I have three screens in total, one of them being my Cintiq, the other a desktop screen and a television. All on top of an old desk. Everything I do these days is basically on my computer, so I don’t have much else beyond a couple of pens in a broken Starbucks mug. Though my physical workspace is quite crowded, my digital workspace is very clean. I’m very fussy about my desktop being minimal and efficient. My father’s a computer engineer so I grew up making my own computers, and they’ve really become an extension of my headspace and workspace.
What do you listen to when you work?
It depends on what I’m working on. If I’m drawing or colouring I tend to listen to music, often original soundtracks from video games or movies. I watch television shows in the background too, mainly on Netflix. Currently I’m milling my way through all of the Star Trek series. If I’m writing, or really focused on something I tend to just work in silence, as it’s easier to concentrate.
What’s the best advice you’ve ever received?
Sometimes you need to step away from something and breath. There’s been far too many times where I’ve worked myself up with a particular panel or even a page when something is just not working. Stepping away for 15 minutes and coming back with fresh eyes can solve an hour’s anger.
How do you get into colouring mode?
It’s hard to tell, I’m usually clued into colouring mode most of the time. Even if I’m skimming through Twitter, Tumblr, or even just on a walk, I like to break down the colours I see in photographs, art or nature in ways I can personally use them in my work. As for actually colouring, I usually just sit down and begin working. I usually have a routine these days where I set an alarm for myself to a certain point, and I’ll play about on the internet/read comics ’til it goes off and then I just begin.
A page Triona drew and colored herself
What’s your favourite colour?
Hot pink. It’s such a vibrant colour and I use it in place of red a lot of the time.
What’s the one thing you wish you could improve about your work?
There are a lot of problems I find with my work, but I suppose that’s with every artist. I have a lot of faith in my palette choice, and storytelling, but I worry about my rendering ability from time to time. I’m still getting used to painting in Photoshop, so it’s difficult from time to time to be fully confident.
When’s the best time to work?
10 PM to 6 AM for me. I get the least amount of interruptions and I can just work happily.
Who do you consider to be inspirational creators in your field (classic and modern)?
In the colouring field I find Jordie Bellaire, Kelly Fitzpatrick, Dave Stewart and Matt Wilson to be such an inspiration. Sophie Campbell, Jen Bartel, and Lucy Knisley are among my favourite artists too. Their storytelling and art have really inspired me with my own illustration work.
Next up is Marvel-exclusive colorist Nolan Woodard, who has a number of credits across the industry.
What current projects are you working on?
I’m working on All-New X-Men and am currently moving from Uncanny X-Men to Totally Awesome Hulk! Also doing variant covers for Insufferable at IDW; pencils, inks, and color. It’s a creator-owned project I work on with Mark Waid and Peter Krause.
Use one word to describe how you work.
Variable.
What’s your workspace like?
I’ve been working over my garage for the past two plus years. It’s fairly spacious with a working area that has my computer, desk, drawing board, and all the paraphernalia needed for creating comics, not just coloring. There’s a wall of bookshelves and a seating area too. Overall, it’s the nicest working space I’ve ever had at home but recently purchased a Wacom Companion 2 so I can also get out to work around people. Socializing is important!
What do you listen to when you work?
From time to time I’ll listen to an audiobook but usually I have my iPad playing a movie or show just out of sight. When it comes to music I am all over the map. My tastes make little sense. It’s just what hits me emotionally at the time.
What’s the best advice you’ve ever received?
Stand outside of yourself with criticism. If it’s professional, it’s not personal and you can learn something. If it’s personal, then it’s not professional and you can ignore it.
How do you get into colouring mode?
I used to do warm-ups but that was before we had a kid. Today, unless a morning shower and coffee is magic, there’s nothing special I do. It’s a wonderful job but it’s still a job and you’ve simply got to do it.
A page from Uncanny X-Men showing Nolan Woodard’s coloring
What’s your favourite colour?
Depends on the context but for comics I don’t have a favorite. It’s all dependent on the mood and storytelling.
What’s the one thing you wish you could improve about your work?
Speed, simplicity, and more storytelling with palette than rendering.
When’s the best time to work?
Usually when my family is all in bed sleeping. No one calls. No one texts. No one bothers. It’s prime focus time.
Who do you consider to be inspirational creators in your field (classic and modern)?
Dave McCaig, Matthew Wilson, and Jordie Bellaire are doing amazing work. They do so much more with so much less. It’s everything I want to be better at. Amazing colorists and people!
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