J'avais posté sur le sujet glénat à ce sujet:
viewtopic.php?t=56084#p3227588Et sinon il dit également ceci dans la même interview, qui pour moi sous-entend que les couleurs n'ont pas été simplement prises chez glénat :
"Fantagraphics sends me every story, and I can examine it, panel by panel. They have different versions of the coloring from America and Europe, they pick the best one to start from. They send it to me, and I tell them what to correct in each panel. I don't criticize the technique of the coloring, but things are colored wrong. In Europe, they're sometimes beautifully colored, but the colorists are not told what the story is about -- they only see the art. I'll check the scripts and personally inspect it panel by panel. The editor, David Gerstein, is as anal retentive as I am, and he's going to make sure that everything is finally as it should be. This is the best collection of my work that's ever been published in the world -- if only because it's in English, which is the language it was written in. Simultaneously, there's one in France that I'm inspecting. It takes a lot of time. I have a friend in France who's not working for the publisher who can check the French translation. He's my "inspector general." He'll report to me and tell me what needs to be changed. Both of these current publishers -- Fantagraphics and Glenat -- know what a good comic book looks like. It seems simple, but you have to know comics to understand the language of comics. It's pure pleasure; both are publishers who are really interested in doing it just the way it should be, and they're very willing to listen to what I say. It's a totally new experience for me. I'm used to working for big publishers, and they're nice people, but they don't want to be bothered with how to present comics properly."