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On the bonkers color palette of Garfield comics

I’ve been reading Garfield comics with my son this week.

He’s too young to really follow the narratives — after every strip he pauses, asks what happened, and then says, slowly and calmly, “Why” — but he’s already very fond of the drawings and characters.

We’ve been reading specifically late-80’s strips, since those are the books we have handy. Honestly, I consider this period the creative zenith of the strip; it’s the sensibility that led directly to the Saturday-morning cartoon, which in my opinion still holds up.

I’d read and loved these particular strips as a kid, but haven’t revisited them much in the many years since. Reading them again now, I came to notice things I had never noticed before.

I posted all about it on Twitter yesterday, and thought I would record my thoughts here, too, for the record.

One thing Garfield doesn’t get enough recognition for is truly bonkers, impressionistic color choices. This sidewalk is pink and yellow. Jon wears purple pants. Every panel is like an Easter basket. (Click any image for a closer look.)

On the bonkers color palette of Garfield comics

On, Twitter, Jim here replied with an observation that the current version of this strip in the Garfield online archive features different coloring:

I find this fascinating — it means that someone, at some point, recolored it.

It makes me curious to know how this strip looked in the paper in ’87. A quick search of instances of the word “corset” in newspapers on September 20, 1987, gives us a clue:

On the bonkers color palette of Garfield comics

This is a low-resolution image from I can’t see the full image because I don’t have a paid subscription — because back when I did, I didn’t get anything else done.

It’s hard to tell, but it looks like Jon’s shirt is darker than his pants in the newspaper version — which means it’s more likely to have been colored like the version from my 1989 book, rather than the recolored online version.

It’s been noted before by other commentators that the rooms in the Arbuckle house are never any specific consistent color. The switching colors contributes to the ping-pong effect of the rhythm of the dialogue. The final panel here keeps the rhythm going while not being at all logical! Yet it works.

On the bonkers color palette of Garfield comics

I’m being serious: it takes chutzpah to have, as a creative ethos, the theory “it doesn’t matter what color anything is, as long as it’s from the Cadbury brand palette.”

Below: is the house purple or yellow? Yes. Is the entryway green or pink (compared to the mailman strip above)? Yes.

On the bonkers color palette of Garfield comics On the bonkers color palette of Garfield comics

The ping-pong walls don’t appear when color is an important part of some other part of the strip. The static choices are still zany, though: yellow floors, pink baseboards:

On the bonkers color palette of Garfield comics

(Side note: I need more of Gwen, stat.)

Here’s this Gwen strip from above as it appears now on GoComics. The colors are different, but decisions are still being made to make them as bold as possible.

On the bonkers color palette of Garfield comics

The green of Gwen’s outfit, as seen here, can only exist online — which is to say, in RGB colorspace.

The gray in this graphic shows all the out-of-print-gamut colors (colors that wouldn’t be available on a standard printing press):

On the bonkers color palette of Garfield comics

This is that strip converted to print-safe CMYK color, meaning, a version that would print just fine:

On the bonkers color palette of Garfield comics

It still looks just as interesting, and is actually less abrasive to the eye.

Yet, someone at PAWS HQ (or somewhere) is deliberately coloring Garfield strips with super-bright colors such as R122 G255 B0:

On the bonkers color palette of Garfield comics

It’s just one of the many enormously bright colors in the comic — a color that won’t translate into print, and is much brighter than I think most people would choose to use for any sort of illustration (comics or anything else).

All the online Garfs from this era use these ultra-bright colors:

On the bonkers color palette of Garfield comics

If you know the Garfield archive colorist, please buy them a drink. They probably need it.

Interestingly, newer comics don’t share this palette! It appears to be only the archives.

There seems to be a shift in style around the year 2000. The 1999 comics are all as bright as the above. The 2001 comics all look pretty “normal,” with a lot more prevalence of muted, darker, and/or desaturated colors.

2000 is a bit of a transitional year in the archive. The start of 2000 looks a lot like the archives, but by the end of 2000, things are looking more like the future. (Though there is still no consistency from comic to comic about the color of, say, Jon’s phone.)

This timeframe coincides roughly to the era when digital coloring began to become the norm, and cartoonists were beginning to submit daily strips already pre-colored to their syndicates (rather than letting individual papers color them via manual means).

So it’s more likely that color versions were already complete and backed up from that point forward, whereas the older black & white comics likely had to be colored from scratch (or recolored, in the case of Sundays) if they wanted to present an entire archive that was in color.

Back to the 1989 book: this dog is one of the very few white (uncolored) things in the whole book.

On the bonkers color palette of Garfield comics

Note how the concrete is brown, though — a weird choice.

I suspect the entire book was colored from B&W art separately from how they appeared in papers. The whole book is probably colored from the same 20 swatches.

The notion that a strip might have been colored differently from paper to paper opens up a whole new world of imagination:

For the online version, they fixed the color of the cement in the dog strip, but made some other, very curious, choices, such as a profusion of bright pinks:

On the bonkers color palette of Garfield comics

Preliminary research suggests that the version of the strip that ran in (at least some) papers was probably closer to the book version. Note how dark the cement looks, even in this preview:

On the bonkers color palette of Garfield comics

(I found this page in the archive by assuming, correctly it seems, that it would be one of the only places the word “sucker” would appear in most newspapers on October 4, 1987.)

The part of all this that fascinates me the most is that, when the decision was made to color the comics for the online archive, someone seems to have considered — and then answered in the negative! — the question of whether or not to look back at the previous versions for reference.

One thing I never specifically noticed until now is that the little Garfield books collect the longer Sunday strips, complete with the first two “throwaway” panels.

They’re not colored at all, and you can see how they suffer visually compared to the strips intended to print as B&W (full of spot blacks & halftones):

On the bonkers color palette of Garfield comics

The color book, however, which is a collection of all Sunday strips, omits the throwaway panels of all the strips — when you’d think that a book would want to present the complete material, not truncated versions.

This is curious to me, because it implies a priority other than presenting absolutely every bit of the content.

My big takeaway from all this for cartoonists is that your work doesn’t necessarily have to have an “official, canonical” version. The same work can be presented in different ways depending on the context.

I suspect that newspaper cartoonists who knew that 1/3 of their strip might get lopped off, or the panels reshuffled, from paper to paper may have a more inherent understanding of the work itself as being modular.

One final observation here is that perhaps I have been far too conservative in coloring Wondermark, when I have made color versions of the strips for my own books.

Here is comic #378 as it appeared in a book, colored by Philip Obermarck, which is lovely — but here is ALSO a proposed version that I did not publish (submitted by Erica Franzmann):

On the bonkers color palette of Garfield comics

This could be a whole new horizon for Wondermark!

Free Patreon Post: Tweet Me Harder Halloween Episode

Free Patreon Post: Tweet Me Harder Halloween Episode

Eleven years ago THIS VERY NIGHT… (almost)

Kris Straub and I posted a special episode of our podcast Tweet Me Harder that – in case you haven’t heard it before – had absolutely nothing to do with Halloween. Nope.

You can listen to it in the old podcast feed, but I’ve also embedded it in this free Patreon post:


Thanks to Twitter’s advanced search filter, you can even go back in time and see what people were saying while it aired!

The premise of Tweet Me Harder, of course, was that people could tweet to us during the live show, and we would respond to them. It was novel at the time.

Free Patreon Post: Tweet Me Harder Halloween Episode
Free Patreon Post: Tweet Me Harder Halloween Episode
Free Patreon Post: Tweet Me Harder Halloween Episode
Free Patreon Post: Tweet Me Harder Halloween Episode

The full run of TMH – 76 full episodes and a few shorts – is still online to listen to for free! We even did a book.

Free Patreon Post: Tweet Me Harder Halloween Episode

~ H a p p y   H a l l o w e e n ~

How is it August already!

I just don’t know. I hope you have been keeping well!

I have been holding things together here at home with the family, working most waking hours on Professional Work, regretting the loss of our daycare, and falling into bed exhausted most nights.

Getting a toddler into bed is like putting a motorcycle away with the throttle stuck open. It can be done, but it sure exhausts your reserves of willpower.

Here are the haps lately

• Before the pandemic, I was invited up to Sideshow Collectibles to participate in their YouTube show “Strike a Pose.”

Our episode is out now, featuring me and my pals Dave Kellett and Shing Yin Khor:

• My dear sweet 18-year-old Feral Cat (not really feral) has been at the vet for the past few days.

If you’re into cute little puzzles, this would be a great time to pick up one of the last few Feral Cat double-sided puzzles for just $6 (or any of my other puzzles for $12)!

How is it August already!

• I lost the Eisner Award. (As in, I didn’t win — not that I physically misplaced it.)

That’s okay! Phil LaMarr said my name, which was pretty cool.

• My new favorite shirt is the ink swatch sample shirt from the shirt printer. A lot of people seemed to think it was as weird and charming as I do:

So, sure — I’ll print one for you too, if you like!

(Note that instead of the words “Men’s” and “Women’s” for shirt sizing, I’ve started using “Straight fit” and “Curvy fit.” In case you aren’t familiar with those terms!)

Here’s some other things I’ve enjoyed recently, and I think you might, too!

• This short film:

• This article about how LEGO bricks can embody principles of interface design:

• This oral history of Weekly World News:

• This touching but very funny story about Carl Reiner:

Comics will be published irregularly for the time being! The best way to stay up-to-date is to make sure you’re subscribed to the email list or the Twitter feed. Talk to you soon!!

Eisner Award nomination! (Just a few days to vote!)

Eisner Award nomination! (Just a few days to vote!)

A real weird year for it, but heck, what an honor!

My latest Wondermark collection, Friends You Can Ride On, has been nominated for an Eisner Award this year in the category Best Humorous Publication.

(This is my second nomination in this category.)

If you’re a comics professional (artist, writer, inker, colorist, letterer); a webcomic creator; a publisher or editor; or you own or manage a comic shop, you are eligible to vote for the winner!

So, this week only, you can download a PDF of the nominated book for free with discount code EISNER.

Read it, enjoy it, and if you’re so eligible and so inclined, please consider casting a vote at

The voting period is very short this year – voting closes at midnight Pacific time, June 18. 

So if you are eligible to vote, please don’t delay!

Eisner Award nomination! (Just a few days to vote!)




BIG NEWS: I have extended the FREE SHIPPING SALE for the new Wondermark book by one additional day! 

So you now have about 48 hours left to get your copy (if you haven’t already).

Some additional details about this book and this promotion:

• The book contains roughly Wondermark comics #567 through #1007, with a few additions from outside that range. In other words, it’s all the comics published from mid-November 2009 through mid-March 2014. And let me tell you, they all still hit like they are new. (Allegedly.)

• US and Canada orders are shipped by me personally, and I’m getting batches out about once a week. If you need a copy via faster means than “when I get to it”, you can also choose Expedited Shipping at checkout for a slight upcharge, and that’ll put you at the top of the queue AND I’ll use a faster shipping service..

• All other orders will be shipped from the warehouse in China. I will transmit all those orders in one batch at the end of the sale, and you will get a tracking number once your package ships! Transit time is estimated to be about 3-5 weeks to Europe and Australia, and 1-2 weeks to locations in Asia.

• There’s a clever spot gloss effect on the cover that isn’t visible in photos. It really has to be seen in person.

• I’m very glad to put this book into your hands, and I’m thrilled that folks seem to be liking it so far! If you’ve already read your copy, you can feel free to add your comments to Goodreads. (If you are a Goodreads Librarian, perhaps you can also assist me with updating the main book photo?)

• I’ve been talking about this book a lot lately because I’m real proud of it, folks. I don’t think I’ll be able to assemble another collection for quite some time. So this is a good one to get!

The free shipping sale goes through May 28 and then…ENDS FOREVER