Digital Chameleon
| Company type | Comics studio (digital production) |
|---|---|
| Founded | 1991 |
| Founders |
|
| Defunct | Template:End date and age |
| Headquarters | , |
Key people | Ed Beddome, Tim Riddoch, Dick Thomas
|
Digital Chameleon operated as a digital studio specializing in comic book coloring, inking, and lettering, headquartered in Winnipeg, Manitoba, Canada. The studio collaborated with major publishers including DC/Vertigo, Marvel, Defiant, Topps, Dark Horse, Eclipse, First, Image, and Malibu. It is recognized for pioneering the extensive adoption of Adobe Photoshop within the comic book industry. In addition to comics, Digital Chameleon contributed coloring services to animation projects, CD cover art, posters, magazines, and advertising campaigns.
History
Starting in 1987, Canadian comic creators Lovern Kindzierski and George Freeman collaborated on works for publishers such as Dark Horse, DC, Eclipse, and First Comics. In 1991, Christopher Chuckry, a cousin of Kindzierski, joined their efforts. Together with Ed Beddome, Tim Riddoch, and Dick Thomas, they established Digital Chameleon. Chuckry took on the role of President while Kindzierski served as Vice President and Creative Director.
Prominent colorists at the studio included Kindzierski, Laurie E. Smith, Freeman, Bernie Mireault, and Carla Feeney. Ed Beddome exited the company in 1993; Chuckry left in 1996, leading to Kindzierski’s promotion to president. Around 1994, Freeman held the position of art director; after his departure circa 1997–1998, Igor Kordej succeeded him.
Jolaine Thomas joined in 1993 and was appointed Operations Manager by August 1994; during this period, the staff expanded from seven to 25 employees.
By 1997, the roster of colorists and inkers included Hilary Barta, Jordi Ensign, Kindzierski himself, Gary Martin, Steve Montano, Jimmy Palmiotti, and Tom Simmons.
Entering the early 2000s, Digital Chameleon broadened its services to include digital lettering for English-language manga translations. The company ultimately closed its doors in 2003.
Production process
In 1997, Digital Chameleon utilized Macintosh Quadra models 800, 950, and 840AV computers equipped with SuperMac Thunderstorm Pro and DayStar Digital cache cards. The primary tool for coloring and separations was Adobe Photoshop; however, artists employed other software like Fractal Painter to achieve painterly textures and specialized effects. Additional applications used included Studio 32, Zeus, Color-it, Adobe Illustrator, Adobe FreeHand, and QuarkXPress.
Awards
Digital Chameleon garnered accolades including a nomination for the 1993 Eisner Award for Best Coloring credited to Kindzierski/Digital Chameleon. Lovern Kindzierski himself received further nominations in 1992, 1998, 2001, and 2015.
Kindzierski won the Favorite Colorist category at the 1997 Comics Buyer's Guide Fan Awards. The studio was nominated for this award alongside Kindzierski in 1997 and 1998 and received additional nominations in subsequent years: 1999 through 2001 and again in 2003.
The company earned a nomination for a Harvey Award in 1999 for Best Inker based on its work on titles such as the Hulk/Sub-Mariner Annual (Marvel) from 1998. Another Harvey nomination followed in 2002 for Best Lettering on the English edition of Akira.