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Old 07-18-2017, 06:44 AM   #16
New Hero
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Join Date: Sep 2013
Posts: 752
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Your work is awash in color to the point of its own detriment. As I scroll down the page and just browse the imagery, what I find is that the range of color in play grabs my eye, only to continually turn me off. Any particular instance of color usage, even where it seems to be a visual delight in its own right, is in constant visual competition with a whole host of other contenders. The end result is a stunted, muted effect.

Rather than assail the eye with color for particular panels or particular moments, you've gone color wild every step of the way. It's not something that I would buy, and it's not something that facilitates making it easier to persuade the reader to actually invest the time to read what is on display. That's how I feel, anyway.

Not content with beating the eyeball with color splashes non-stop in the panels, you continue the visual assault down in the gutters, also. Granted, white space doesn't have to be the color white, and it is to the work's good credit that you at least made use of the color white in your speech balloons. Otherwise, you don't seem to have much use for the color white. Such a pity, for it indicates that you don't value that color nearly so much as other colors in the color spectrum.

This, in turn, is obliterating contrast on your pages.

Part of what is visually appealing about your work is your manipulation of color. You value color. You love it! And this is nothing to be ashamed of, particularly in light of the fact that you're aiming for something "different." At what point, though, does one reach am artistically viable stopping point?

Imagine the human eye as a runner, and anytime that it sees color, it has to run. Your chosen approach gives the eye little room to rest. Your color taken to excess wears the eye out. The eye tires from color fatigue. This matters for the very simple reason that it negatively impacts the ability of the viewer to more fully appreciate what it is that you are striving so very hard to achieve.

It reminds me of The Rime of the Ancient Mariner, particular the point where the poem says, "Water, water, every where, Nor any drop to drink." With your work on display, here, I would paraphrase that poem by saying, "Color, color, everywhere, nor any drop to drink (as in, visually drink). Your forte is color, but at the risk of artistic blasphemy, I feel that you visually poison your own work because you treat color as a mere plaything to do with as you will.

Or to put it another way, your greatest artistic gift is simultaneously your worst artistic curse. Some of your coloring is really genuinely lovely, whereas other of it simply leaves me smacking myself in the head and asking, "Why?"

I get that each panel is a visual scene, and that you want to populate it with color, much as the real world around us is populated by many different colors, no matter where we tend to find ourselves. What I don't get is why you utilize non-scene elements (such as narration boxes and gutters) to add color insult (color for the sake of color) to color injury (the non-stop visual assault by color run amok across every panel on every page).

By taking the artistic route that you have taken, what happens is that your visual apex moments yield a reduced level of visual color. So, your visual "whoa moments" take on a quality of visual "ho hum." How very quaint, more color. How very.....typical.

Or, in a literary sense, if you prefer, you are undermining the visual story telling, by cutting off at the knees what should rightly be the most visually impactful moments of your story.

Just as I begin to love what I am seeing, I immediately begin to hate it.

What you are trying to pull off successfully with this chosen approach of a full embrace of color in your handiwork is, indeed, commendable, but I question whether you have the necessary mastery of supporting elements to enable you to actually pull it off. Take human anatomy, for one. Take human expressions, for another.

You are very gifted at teasing the human eye with color. You are substantially less skilled, however, in complex manipulation of color. Your characters, for instance, tend to blend in with their backgrounds, if concentrate on the coloring conventions utilized for them and the backgrounds against which they compete for visual attention. Thus, the real star of your story is color, itself, and not the characters - and as I try to digest your work, I find that to be particularly problematic.

And to make matters even worse, where your narrative boxes are concerned, it simply wasn't sufficient for you to color them, also. No, you also had to poke the eye with the sharp visual stick of a transition effect from color to white. Never miss an opportunity to visually distract from what's going on in the panels, eh? How very non-clever of you!

That said, your work has a certain visual lure to it. Like bait, it attracts the eye's attention. Some of your panels have a captivating quality to them. These are indications of artistic greatness bubbling beneath the surface.

Which makes it all the more difficult for me to grasp why in God's name do you squander it? How can a person be so gifted in the art of color, yet simultaneously so careless with the same? You're pushing the visual envelope with color, but you're pushing it in a sloppy manner. And to make matters worse, other areas of your artistic skills are so far behind your pending mastery with color manipulation that it is acting as an anchor around the neck of your colorful undertakings.

Improve your human anatomy skills, your facial expressions skills, and your line weight skills. Your characters, colorful though they may be, have a tendency to be visually stiff. So, improve your skills as they relate to capturing and depicting poses, also. Additionally, more focus on light and shadow could help you to improve the visual transitions between your many different applications of color within a given panel.

Your work is different - and that is a plus. It's part of what makes your work unique and stand out more from other artists' work on display, here.

Oh, and one other thing - work on your speech balloons. They are plain Jane simplistic visual blobs that detract from your work.
Ye Olde Comic Book Temple
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