Ooooh, I kinda work like that a bit too! I find that fiddling with the colours is one of the fun parts, but I can't imagine doing it with gouache. Yikes.
To help me with the values, I usually just create a hue/saturation layer on top the whole thing, with the saturation all the way down. Then I try to identify the areas in which the values aren't working, then correct them while still in black and white; then, when everything seems better, I prepare for the shock and make the B&W layer invisible. The colours are, at this point, generally horrible and saturated, but I just go from there as a starting point and then I can just play with the hue/saturation. Then I can just use that layer ocasionally to keep my values in check.
...This is a stupid and convoluted way of working and yours is probably much better and swift, but hey.
Yeah your method might help me finesse it more, but I don't know what it is... I can separate value and color when I talk about them, but when I actually get working I have to work them both at the same time or it completely falls apart. My brain is weird.
Thank you so much for taking the time to do this! Your commentary (in the post and the replies) is super helpful and interesting. The stuff about values in particular - awesome. Have you done much black and white or monochrome stuff?
I actually hate working in monochrome and avoid it if at all possible! The temptation to throw in a bright pink or green or gold to pop something out always overpowers me. I suppose I could resist if I had to, but I... don't have to. RAINBOWS EVERYWHERE.
I gotta say, I love love love seeing these roughs! Dracothrope linked me your journal -- which I didn't realize existed, though I watch you on deviantart. I admire your color choices and it's encouraging to see how much thought and work goes into them. It's also kinda nice to see that someone else's roughs can be as heinously sketchy as my own. High five for tiny pencil thumbnails!
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To help me with the values, I usually just create a hue/saturation layer on top the whole thing, with the saturation all the way down. Then I try to identify the areas in which the values aren't working, then correct them while still in black and white; then, when everything seems better, I prepare for the shock and make the B&W layer invisible. The colours are, at this point, generally horrible and saturated, but I just go from there as a starting point and then I can just play with the hue/saturation. Then I can just use that layer ocasionally to keep my values in check.
...This is a stupid and convoluted way of working and yours is probably much better and swift, but hey.
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