TMNT #1 PBBZ Comic Con 2005 Reprint paper stock? - Page 2

Zog The Magnificent · 07-28-2026, 02:33 AM

Quote:

Originally Posted by ToTheNines

Six-seven!

(But surely this has to be the last one).

*ToTheNines* · 07-28-2026, 03:16 AM

Quote:

Originally Posted by Zog The Magnificent

(But surely this has to be the last one).

I dunno… Ask Jeeves!

Quote:

Originally Posted by Jeeves

"Radical!" doesn't really fit with Leo's personality, but having assigned the other three lines, I guess he's stuck with it. One could take it as some cheeky foreshadowing. I doubt that was meant to be the case, but who knows? I choose to believe Leo was just thirsting from day one.

love this one and it is now my headcanon.

Great Hierophant · Yesterday, 01:03 PM

No doubt people have accused Peter Laird of cavalierly removing details in his PBBZ version that were present in the regular DuoShade original so he could impose his computer tones without rhyme or reason. The charge is unjust.

To produce the PBBZ version he worked off the photocopied line art. Knowledgeable TMNT fans should know that E&L photocopied their inked artwork on the DuoShade board before applying the DuoShade chemical toners. This was extremely important when the opportunity came to colorize the original line art. DuoShade and watercolor do not mix. Kevin Eastman used these photocopies when he colorized TMNT #1 for First Comics' Book I and Steve Lavigne did the same when he recolorized TMNT #1 for the 2009 Full Color Reprint. Only the IDW colorization used the DuoShade art.

I would point out that those details were either completely done in DuoShade or were inking touchups done after they had photocopied the line art. The colorists would have to reproduce them and did not. Comparing these versions to the photocopies reproduced in TMNT Artisan Edition, one can see that the "missing details" were not there on the "final" inked photocopies. This includes page 11, panels 2, 3 & 5, page 12, panel 4, page 14, panels 1 & 6, page 16, panel 2 and page 27, panel 1.

I would follow up my original comment by saying that while Laird used (digital) screentones, Photoshop allowed him to use effects that would be difficult or impossible to achieve by cutting a sheet of adhesive screentone like Dave Sim and Gerhard did on Cerebus or Stan Sakai used on Usagi Yojimbo. There are lighting and starburst effects that would not be easy to reproduce on boards to be photographed for reproduction via web offset printing. Examples include page 17, panel 4, page 18, panels 2-5, page 22, panel 1, page 27, panel 2.

The PBBZ version should have a place in that it preserves all the pre-DuoShade inked line art and that it probably would have resembled the finished product if E&L decided not to use DuoShade. It deserves respect for that.

Yesterday, 01:03 PM	#23
Great Hierophant Random Punk Join Date: Jun 2025 Location: Plymouth, MA Posts: 38	No doubt people have accused Peter Laird of cavalierly removing details in his PBBZ version that were present in the regular DuoShade original so he could impose his computer tones without rhyme or reason. The charge is unjust. To produce the PBBZ version he worked off the photocopied line art. Knowledgeable TMNT fans should know that E&L photocopied their inked artwork on the DuoShade board before applying the DuoShade chemical toners. This was extremely important when the opportunity came to colorize the original line art. DuoShade and watercolor do not mix. Kevin Eastman used these photocopies when he colorized TMNT #1 for First Comics' Book I and Steve Lavigne did the same when he recolorized TMNT #1 for the 2009 Full Color Reprint. Only the IDW colorization used the DuoShade art. I would point out that those details were either completely done in DuoShade or were inking touchups done after they had photocopied the line art. The colorists would have to reproduce them and did not. Comparing these versions to the photocopies reproduced in TMNT Artisan Edition, one can see that the "missing details" were not there on the "final" inked photocopies. This includes page 11, panels 2, 3 & 5, page 12, panel 4, page 14, panels 1 & 6, page 16, panel 2 and page 27, panel 1. I would follow up my original comment by saying that while Laird used (digital) screentones, Photoshop allowed him to use effects that would be difficult or impossible to achieve by cutting a sheet of adhesive screentone like Dave Sim and Gerhard did on Cerebus or Stan Sakai used on Usagi Yojimbo. There are lighting and starburst effects that would not be easy to reproduce on boards to be photographed for reproduction via web offset printing. Examples include page 17, panel 4, page 18, panels 2-5, page 22, panel 1, page 27, panel 2. The PBBZ version should have a place in that it preserves all the pre-DuoShade inked line art and that it probably would have resembled the finished product if E&L decided not to use DuoShade. It deserves respect for that.