Last time, I described the decision making process that led me to using color holds on the Monster Guy line art. This time, I'm sharing my interior colors!

Not a ton to explain here -- I'd already done most of my color selections during the knockouts stage, and I knew I wanted to go with slightly lighter or more muted tones to fill in the guts.

Well, for the most part, that is. A few areas received more vibrant tones for the interiors (the drool, the undersides of the tentacles, the eyes).

And, overall, I liked the result. But I didn't love it... which leads me to the next and final installment of the Monster Guy process, coming soon!!! See you then.

Green Thursdays gets messy!! I mean, seriously, wouldn't you do the same?

You're in some remote corner of space... there's no baddie to battle and you've really gotta drop one. It's tough pooping in space without the comforts of home (Earth, that is). So you make yourself a little green energy toilet and relax your bowels.

AHHHHHHHHHH. Yes.

Now that's the Green Lantern way. For toilet reviews on this technique, please be patient as I am not quite done yet.

- Poop Lantern on deviantART
- Poop Lantern on Tumblr
- Poop Lantern on Flickr

Okay so last week I shared the plain old black and white line art. And this week I'm back with the color line art!!!

When I first started coloring Monster Guy I wasn't sure how I wanted to tackle it. I certainly don't have anything against color holds, but at the same time, I don't choose to use them that often.

For some reason, I went nuts with the knockouts on this one. I just got really into it. And the process I used for the color holds was a little unconventional for me.

Anyone who knows my working process knows that I have a quirk -- I hate working with my line art layer set to multiply. I prefer to scan in my work as a 1200 DPI bitmap file, and then I separate the blacks from the whites.

And that's what I did for Monster Guy. But in the process of that, I realized that I was left with a white shell:

I decided to create my color holds by working underneath that white layer and using it as a mask. So, for example, if you were to hide that white shell layer, this is what the colors look like:

Because the white mask layer was originally made from a bitmap and it was composed of rigid pixels, I was able to merge the white layer with the colors underneath, and then easily delete away the white, leaving me with the color line art you see at the top of this post. VOILA!!!

Next time, I'll dig deeper into my interior coloring decisions for the penultimate installment of the Monster Guy artistic process!