top of page
Writer's picture: Maple LamMaple Lam

A genuine question to my fellow comics and graphic novel creators

 

Today, we dive into something a bit technical: adjusting colors when painting digitally for comics and graphic novels.


And while we’re at it, I do have an open question for those who friends who are much more knowledgeable than I am on this topic. I’ll ask that towards the end of the post.


As a rule of thumb, when we create graphics for prints, we make sure the files are set up correctly. Print files are always set up in CMYK (Cyan, Magenta, Yellow, Key), not RGB (Red, Green, Blue) mode.


(You want to make sure you’re not working off RGB. As you can see, RGB has a slightly wider range, especially in the greens. If you select a pop green color in RGB, it’s going to be significally duller once you print it in CMYK.)


Most printers use black as the key, so we associate “K” as “black”.


Professional comic colorists always aim for 0% for K and adjust CMY to match their existing colors.


Let’s say, you have this orange. Notice CMYK is set at C25 M64 Y75 K18.



You want to then pick a color where K is 0, and re-adjust CMY to the closest orange you can match it with. I have now matched the orange to C39 M71 Y86 K0.



As you can see, the new color where K is set at 0 is very close to the old color I originally picked. At least they’re close enough for my eyes. And I know in the back of my head this works better for print.


The main reason is the same reason why we avoid using black straight off the tube when we paint: black fresh off the tube looks flat. Any time you put black in your color, the color ends up looking dull.


Mixing your own black gives you more options in developing depth. It breathes more life and layers to your artwork.


I’ll give you an example.


In “MY LITTLE SISTER AND ME,” I mixed phthalo blue with burnt umber for the kids’ hair to make them pop. The overall composition for this book was designed simpler, and I needed something to pop so make the visuals more fun.



In “DIM SUM, HERE WE COME,” I mixed quinacridone rose with phthalo green for the kids’ hair to convey a softer black to match the overall palette. The compositions in this book were busier, so I needed a bit more harmony to avoid visual overloads.



By mixing my own black, I have more options to play with. Not to mention this avoids a flat and dull look to the painting.


The same concept applies to setting K at 0% when coloring comics and graphic novels. By doing so, we avoid colors turning out muddy and dull on final prints.


(Note: I don’t think it works the same in digital painting. It applies more to comics and graphic novels because we usually work with a very selective and limited color palette.)

So, here comes my question to my professional colleagues / art directors / designers / production designers who are infinitely more knowledgeable than I am:


When you build your color palette, do you make sure K is at 0?


The reason I asked is that I don’t hear often this gets discussed. This is VERY comics and graphic novels specific when it comes to coloring and the printing process, and I’m genuinely curious!


And I am learning! Always. :-)

Writer's picture: Maple LamMaple Lam

Tools and Furnitures Many Illustrators Use

 

Today, I digress slightly and want to share something lighter and fun.


Many of my friends are professional creatives. Sometimes, when I pay them a visit in their studios, I can’t help but notice we have the exact furnitures or tools. I always find this a bit amusing.


A quick note: you don’t need any specific tools or furnitures to make your art, your comics, your graphic novels, or your work. A paper notebook and a No.2 pencil will do. The important thing is to sit down and start making the work.


JK Rowling conceptualized “Harry Potter” on a spiral notebook.
JK Rowling conceptualized “Harry Potter” on a spiral notebook.

With that said, here are some items that many creatives use.

Disclaimer: I am not affiliated with any of the items mentioned below. (◍•ᴗ•◍)



(1) Art Drawers


If you work bigger than 8.5”x11”(or the slightly bigger A4 size, for my European friends), you will eventually need space to store those artwork. Flat file cabinets are usually pricy and bulky. If I see flat file cabinets in a friend’s studio, I would go, “Wo-ah! You rich!” (In which my friend would inevitably go, “I scored this at a garage-sale / estate-sale / hand-me-down when a friend moved / freecycle website.”


Flat file cabinets that most artists can’t afford.
Flat file cabinets that most artists can’t afford.

But for the rest of us with no neighbors selling off their furnitures and friends with no intention to move, this IKEA ALEX drawer is affordable, practical, and goes well with the rest of our Scandinavian-furnished space (all IKEA).



I think the majority of my friends owns at least one ALEX.



(2) Archival Boxes


Sometimes, when I finish a project, I don’t want to stack all the artwork in the IKEA ALEX drawer – I need those space for on-going projects. This is when archival boxes come in handy.



I throw in all the project’s related items in a labeled box, including early sketches, revision notes, book dummies, final artwork, etc. Make sure you put the boxes in an elevated space – in case of flooding . Even if you live in the desert, there is still a chance your pipe might burst. I’m speaking from experience.


On that note, I once saw a YouTube video on how UK illustrator legend Quintin Blake stored his work. I’ve always wondered what those folders were. They look fantastic! Did he handmade them? If not, where did he get those? Does anyone know? :-)




(3) Utility Cart with Casters


My talented friend Joe Cepeda (who makes all his own furnitures) once said he would always put casters (aka wheels) on everything. This way, he could rearrange his studio depending on what art medium he was using for a project. Genius.


I don’t have as big a need to move everything around, but I do see his point on the benefit of this flexibility. Here’s yet another very popular IKEA item that many of us authors/illustrators own: The RASKOG utility cart.


IKEA likes to switch up the colors all the time, so depending on when you purchase the cart, the color will be different. Mine is in cottage red.


A note: I see other places selling similar looking carts, but the one IKEA is inexpensive, sturdy, and the casters work really well. IKEA is not paying me to say these things (although that would be nice.) It’s just my honest opinion here.



(4) Slanted Desk


This comes in handy particularly for comics creators and graphic novelists – especially if you still draw the old school way (meaning non-digital). Some friends have drafting tables in their studios. I don’t have enough space to install another desk in my room, so I use a portable version, one that I could put on top of my current desk.


I use this a lot when I’m working on my picture books. For graphic novels, I have gone full-digital. That’s when I put this drawing board aside in a nice corner of the room. I like that flexibility.


Tips: Sometimes when I am just sketching or writing, I like to pull out this slant board instead, a small option for friends who like ergonomic items.




(5) Book Stand


I use a book stand everyday, from reading to referencing books while I’m working. This comes in really handy.


They no longer sell this particular one on Amazon, but you can find similar looking ones, such as this bamboo version.


I also have a lighter version of a bookstand I bought at Daiso (I think it’s $6 there). They are not as visually pleasing. But if you need to reference another book and you want something less bulky, these lighter version works – unless it’s a really big or heavy book. (Also, not a fan of that flimsy page holder. But I get what I paid for.)



Trivia: Thomas Jefferson, our third president, owns a fancy one.



If you love this, you can buy an inspired version in the Monticello Shop.




One last note: if you are just starting, don’t worry about all the furnitures and tools. Invest your time and energy on your craft instead, and only buy items when it makes financial sense, or as a pat on the back when you finished a big project. I accumulated these items over a very long period of time, too. (I don’t have that fancy Thomas Jefferson multi-book stand. It’s nice, but probably unnecessary. Also, bulky!)



Are there tools or furnitures you use regularly that you’d like to share with everyone? Please comment below! I’d LOVE to see what everyone uses!


I hope you enjoy the post. If you haven’t already, please subscribe to my Substack, where I share thoughts on everything comics and graphic novels and art-related.


Have a great day! ˓˓ก₍⸍⸌̣ʷ̣̫⸍̣⸌₎ค˒˒

Updated: Jan 10

Akira Toriyama took the fights to the next level.

 

*Disclaimer: Some images shown in this newsletter can be graphic.*


My debut graphic novel series, Monkey King and the World of Myths, is inspired by the Chinese mythological novel Journey to the West.


How can I not talk about Akira Toriyama’s Dragon Ball, which is also inspired by Journey to the West, and one of my favorite manga series growing up?


Before becoming famous with Dragon Ball, Toriyama was already well known with Dr. Slump, a humorous manga series about the daily life of a robotic girl and her outrageously hilarious friends. Toriyama was only 25 when he created Dr. Slump. 25!!!


Let’s talk about Toriyama’s art style.


Toriyama came from a design background, and his strong sense of design shines through in his artwork. In an age where most manga creators relied heavily on screentones, Toriyama’s mostly black-and-white design palette stood out. Of course, one would have to be extremely knowledgeable in design to execute so beautifully. The result might look simple, but it is extremely difficult to pull off.


The keep-it-simple-and-clean line work will always be one of my favorite things about Toriyama’s work.
The keep-it-simple-and-clean line work will always be one of my favorite things about Toriyama’s work.

He is a big fan of Jackie Chan’s movies. It’s incredible how Toriyama “translated” martial art moves into his work. His fighting scenes differed drastically from other battle-centric comics at the time.


In “Fist of the North Star”, illustrator Tetsuo Hara chose to feature the power in the punches. It’s like watching the MMA.
In “Fist of the North Star”, illustrator Tetsuo Hara chose to feature the power in the punches. It’s like watching the MMA.

Fighting scenes in Masami Kurumada’s “Saint Seiya” also emphasized on each punch and each kick. To me, the most fun part of this heavily Greek mythology-inspired series was not in the fighting, but in the adventurous seeking of the various protector armors.
Fighting scenes in Masami Kurumada’s “Saint Seiya” also emphasized on each punch and each kick. To me, the most fun part of this heavily Greek mythology-inspired series was not in the fighting, but in the adventurous seeking of the various protector armors.

In contrast, Akira Toriyama’s “Dragon Ball” focused heavily on the fights. The characters flipped, bounced, spring back, leaped… The movements were much more dynamic and fun to read.
In contrast, Akira Toriyama’s “Dragon Ball” focused heavily on the fights. The characters flipped, bounced, spring back, leaped… The movements were much more dynamic and fun to read.

Toriyama was not the first manga creator to make comics with a focus on fighting, but he surely took it to the next level. The generation that succeeded Toriyama are all heavily influenced by Toriyama’s work: Eiichiro Oda’s One Piece, Tite Kubo’s Bleach, and Massahi Kishimoto’s Naruto.


“Forget all the tricks and shortcuts. Get a hold of basic drawing skills. Learn what makes sense to you, and follow your inspiration.” ~Akira Toriyama, via a Weekly Shonen Jump Magazine interview.


Needless to say, I’m a big fan of Akira Toriyama.


✲✲*(❁´▽`❁)*✲✲


Trivia: Did you know Akira Toriyama had drawn his editor into the Dr. Slump series?




I heard Kazukhiko Torishima has released a book this summer. In the book, he shared his experience as a manga editor, his thoughts on what makes a comic series successful, and his reflection on the manga industry as a whole. I really hope this book gets translated, and we could all learn from his experience!



***


Do you like Dragon Ball? What are your favorite battles in this long series? Is there a particular character you love? I look forward to hearing your thoughts in the comments section.

© 2025 Maple Lam. Arts | Illustration | KidLit. All rights reserved.

bottom of page