Rendered art is a gorgeous sight to behold. Your eyes (at least, my eyes) get all gooey and detail-happy and it gives an otherwise nice illustration an extra boost.
Arzach by Jean “Moebius” Giraud, page 33-34. EYEGASM!
In comics, however, this kind of rendering can not only be extremely exhausting for the artist, it can also be exhausting for the reader! Too much rendering all the time can oversaturate our brain’s capacity to notice differences in detail.
Why do we want our readers to notice changes in detail? Well, an artistic upgrade can help put an extra ‘oomf’ to an otherwise OK panel when something important is happening. Let me elaborate. Take Ashley Cope’s Unsounded as an example.
Unsounded. Chapter 1, page 12-13.
Here we see Ashley’s comedic and fun style transition into something more detailed: not only in colour, but also in style and with added dynamism. This “change” is jarring and delightful, and really drives in the new scene’s tone shift.
Another, more dramatic example comes a few pages later:
Unsounded by Ashley Cope. Chapter 1, page 15-17.
Here the transition goes from relatively detailed to full on painting and then back again. By temporarily evolving into something more realistic but still stylistically consistent, the art manages to really slam in the significance of this flashback. The gorgeously rendered blood next to the blades is an image that won’t soon leave you.
But the reason it really works is because this style is new and exciting, and you don’t get to see it often.
This stylistic oomf works even in black and white. In Sakamoto Shinichi’s art style, all of his characters are beautiful. They are impossibly beautiful. So when he emphasizes the lines of their faces, the delivery of a scene’s severity really strikes you.
Innocent by Sakamoto Shinichi. Volume 1, page 179-181.
The same goes for the level of detail in the background. Richly detailing the object you want to be the emphasis or “oomf” of a page really makes it pop out and make an impact. But this impact is lessened if your comic is always excessively detailed, because there isn’t much of a change from a mundane scene to a scene of importance. This can be buffered by usually emphasizing one style over another.
An interesting example comes from Yotsuba&!. Here, the cast is always drawn quite simply but the backgrounds are consistently rendered hyper realistically. While the backgrounds are ever present, they are rarely the focus. So when they become the focus, the “wow” impact remains.
Yotsuba to! by Kiyohiko Azuma. Chapter 61, page 26-27.
But Karaii, you might say, sometimes the scenes of most impact are the least detailed ones! You would be right!! Have an example from another wonderful comic, the French masterpiece The Incal:
The Incal drawn by Jean “Moebius” Giraud and written by Alejandro Jodorowsky. Page 69-70.
The comic is ridiculously rich in detail most of the time, thoroughly organic, but the moment the mystical Incal takes over, everything becomes simplified and geometric. This jarring change really emphasizes its power and significance, without having to dedicate a paragraph of written text to it.
The Incal by Jean “Moebius” Giraud. Page 88-91. DAMN, SON!!!
But hey, sometimes a void is stronger than all the detail in the world. Take Kentaro Miura’s Berserk, for example.
Berserk is usually taken to a level of extreme detail when a fight breaks down, with all the lovingly rendered crosshatching and gore. While I very much love the style, I admit it can work against the impact because one becomes desensitized to the violence. So when Miura takes a step back and lets a tragic scene breathe, the emotional impact strikes you harder:
Berserk by Kentaro Miura. Volume 1 page 147-150.
So, remember: impact comes from the conscious or subconscious change our brain notices in the progression of the sequential art. A successful tone shift happens because it’s new and different. The same should be done to one’s quality of art when you want to bring focus or emphasis on an emotional moment.
Be careful not to abuse these jarring changes though, or they quickly become tiring and/or not effective.
That’s what I’ve come to conclude, anyway! Do you have any other examples of comics that follow this style? Of ones that defy it and still succeed? Do share!! I always love hearing people’s varying opinions.
tf2 iscribble/pchat dump, with some more of my prince scout/king demo
大友克洋 AKIRA by Otomo
Always reblog Otomo
Ray Bradbury’s ‘the City’ was adapted by Mike Mignola and published by NBM in ‘the Ray Bradbury Chronicles, Vol. 5’.
Stop the Hair Nude, by David Mazzucchelli (Zero Zero #2, 1995)
Science + Art = Awesome!
Today the Department of Microscopic Marvels explores the exquisitely beautiful art of arranging Diatoms, tiny unicellular algae encased in jewel-like glass shells, into complex kaleidoscopic displays, some of which date back to the Victorian era. They’re works of art that are invisible to the naked eye and must be viewed under a microscope.
Ranging in size from 2 to 200 micrometers, diatoms are among the smallest organisms on the planet. They’re a form of phytoplankton and scientists estimate that there are roughly 100,000 existent species. To create the lovely and astonishingly tiny displays pictured above, diatoms must be found, captured, cleaned, organized and then finally positioned into aesthetically pleasing arrangements in microscope slides.
So how is all of this accomplished? English filmmaker Matthew Killip contacted Diatom specialist and master micromanipulator Klaus Kemp in order to find out. Kemp has dedicated his life to studying and perfecting this microscopic Victorian art form and Killip sat down with him to learn about the process of creating diatom arrangements. The result was a short film entitled The Diatomist.
this was really cool!!! totally recommend you check out the short film it’s really good!!