| Posted: 12 August 2008 at 2:21pm | IP Logged | 5
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I guess I should clarify my initial post about the "coloring" of OMAC. I read in an old thread that the book was intended to be released as a colored edition --- this is exactly what Mr Byrne said about that:
Another small historical note:
When I convinced DC to do OMAC in black and white, one of their
"conditions" was that there would also be a subsequent trade paperback
release in color. This necessitated modifying what I had originally
intended to be my approach with the DuoShade. I'd been studying the
likes of Wally Wood, whose use of the similar Craftint boards had been so
spectacularly effective in MAD. One of the things I definitely wanted to do
was use the grey tones to actually define and hold the shape of objects,
as Wood often did.
However, because of the plan to do a later color reprint, I was compelled
to do more or less conventional linework on OMACK, sending in the
pages to be photostated (in those days before computer scanning became
the norm) before being returned to me for adding the gray tones. This
was done with all four issues.
Then the photstats were "lost". Honest to god! The entire four issues, all
the photostats turned up missing when the editor left DC and his office
was emptied. So no color reprint.
Years later, I am told, the photostats were found -- "behind a filing
cabinet" -- but DC has expressed no interest since in completing our
original deal. One more admonission, I suppose, to get these things in
writing.
So, it was DC who wanted the coloring NOT John Byrne. My mistake.
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