I thought I’d share some of the drawings by Osamu Tezuka that I referred to several times to try to work out doing nature with ink. All three of the main pictures I’m showing here are from his Buddha series. The one above is from Volume 8, the last one. Now, when I look at that I’d call it fairly realistic. But when you start looking at the individual parts we can see how he’s combining abstract patterns and textures to construct it.
Posts Tagged ‘rendering’
As I recently said on Facebook, “How have I not been aware of Donato Giancola before now?” This one stopped me as I was going through Spectrum 16, and I’ve kept coming back to it. The Archer of the Rose is the cover for Kathleen Bryan’s The Last Paladin by Tor books. We’ll look at the picture’s development and its use as a cover. Giancola likes to start with strong abstract compositions as the base and then work toward strong realism. We’ll look at the abstract patterns he uses and how they guide the eye, and we’ll also look at some of his finely detailed rendering. Finally, we’ll look at the thought and research that went into the narrative and characterization. For example, Persian manuscript covers inspired the patterns on the shields, yet the armor styles are more western European. What does this tell us about the events in the scene, and how does it contribute to mood and theme?
Last week I told how Ian Miller pointed me to Albrecht Dürer. He had a table at the first Illuxcon and had some of his fantastic ink drawings on display. It was great to be able to get up close to see just what was going on, because unlike most comics inking you couldn’t really see the individual lines until you got up close. For example, I remember looking at Castles for quite a while.
I’d like to thank him for providing a high resolution version of THD for the analysis. I first saw it on his web site, and he was kind enough to send a version I could use to take detail images. THD is an ink drawing, but then he colored it, I’m guessing with watercolor. I’ll go into the color choices and linework, but I’ll also touch on the composition, concept, and ways he guides our eyes through the picture.
Last week I said that this time I’d write about something old. I hope 1498 qualifies. Thanks to a timely birthday present from my brother, I’m doing a woodcut by Albrecht Dürer, a German painter and engraver best known at the time for his highly skilled prints. At Illuxcon a couple of years ago I saw some fantastic ink work by Ian Miller, like Trees and Insects. He was kind enough to do a portfolio review for me, and during the process recommended that I start with Dürer. So, here we are.
I chose The Men’s Bath because we can clearly see the techniques Dürer used in the linework. This in a medium in which the artist and craftsmen who then cut the blocks had to be aware of and consider every line, every mark. We’ll look at examples of how Dürer handled form of the body, textures like wood and stone, and background elements like buildings and trees. He used hatching, feathering, and cross-hatching to establish values in what is basically a black and white medium. While that medium may be woodcut, the principles apply equally well to inking with brush and pen today.
I came across this piece at this thread on conceptart.org, which is well worth a look. Here’s a bigger look. You can also see an even larger, slightly earlier version of this painting here.I haven’t really written about a painting that has significant abstract elements before. The closest is a comic cover by another Jones, Erik Jones’ cover for The Unknown #6. In that case he used abstract versions of gun silhouettes, bullets, and targets. They were still recognizable as those thing, though, whereas Mind Machine uses abstract shapes for layering and textures that build up form on their own – to a point.
It doesn’t happen often that I buy a comic based on the strength of a cover, but Locke & Key is an example of a comic that I knew nothing about before I saw it on the shelves of my local shop. I picked it up and flipped through it on the strength of this cover. I thought it looked interesting, but put it back on the shelf. A few weeks later, though, I noticed another cover that was just surreal and slightly disturbing without being overtly horror. Just my cup of tea. I picked it up again and saw that the guy crawling out of someone’s head was literal, not just metaphor. I’ve been reading it since. I decided to do this cover because it was the first one that did the job of making me notice the series.