When we talk about a specific comic book it is mostly the artist who gets the credit. In Germany only sometimes the writers will get the attention, too, while in the US they are generally treated with much more respect. Very often writers are Eisner Award winners and thereby honoured for the continuity and storytelling they contribute to a series. As the comic book industry in the US produced a huge output as soon as the early 1950s, it became obvious that some kind of "assembly-line-work" was needed to get the books done in good time and quality. Jobs like "penciller", "inker", "letterer" "flatter" and "colorist" emerged, and those people contributed to the process of comic book production pretty much in the order we put them here. Every one of them added his or her idividual style and today the value of quite a few golden and silver age series is determined by who "inked" or "lettered" them. The last step in production – colouring – was similarly important. Colorists were (and still are) responsible to add atmosphere to an illustrator's black and white inked panels by means of – right: colour. A technical process that today has become rather "easy" through digital aids like photoshop – which still dosen't guarantee excellent results by the way – but used to be rather complicated at the beginning of the 20th century. A brush and dye were a colorists only tools by which he (or she) would determine the style and offer the information necessary to get the right colour settings onto the printing plates. A complex process that exceeds most peoples imagination today. The colorist would attach "CMYK-Codes" to the originally coloured panels to indicate the final printed colors to the engravers who produced the four color-separated plates by cutting out shapes from films of various greyscale densities. As these montages were basically "grey area" needed to define the exposure on the printing-plates and thereby the amount of colour attached to the print later, a great amount of experience was needed and the final result would only be seen when the page was finished. This process unterwent a lot of changes ever since and "Akira" was the first production in 1988 to be coloured digitally. Today photoshop is at the peak of its development and few artists use a brush anymore. Among the best known colorists of the "first hour" was American artist Marie Severin (born August 21, 1929). She worked on EC Comics' and Marvel's series and entered the Will Eisner Comics Hall in 2001. Also important was Tatjana Wood. She worked as main colorist for DC Comics from 1973 until the mid 1980s. The Eisner Award 2012 for "Best Coloring" got handed to another woman: Laura Allred, (iZombie,Vertigo/DC).