We have come at long last to the end of the Colorist series we did for you. We need to raise funds to get better, for we need better equipment, better advisers and guests for interview, more shows. I’m next going to continue my mission in the artes by looking at sketch, graphics, and illustrators usage of color. This shall be the first. I can see this will be a challenge. A painter whose framework does not contain outlines, is accepted just fine in our word. Such are the impressionists, mostly. And they are certainly the very hot center of color.
How can we achieve clarity on the color of art, if line, not color is the day. Huge commercial success stories abound. With Doei and Emil and others, line is still comfortably on the throne, but somehow color shares that primacy in these few. So if we accidentally show you the color talent of one of Moebius’ staff colorists, who actually inked his work, at least we have selected it, so this is a very effective colorist as well, no harm, no foul.
But graphics illustration is a different job for the same tools and we will try to unpack various techniques. Pencil men and wombyn have their own lexicon.
In the featured photo a dark wombyn is marked, even as an ancient stele containing inscrutable hieroglyphs or runes. The Baron returns neon to us from some art grave where the commercial world has buried it. All of art is memory. The viewer feels the art, but actually she is remembering the feeling of a time, an event. Her heart is on offer even as she denies a heart. Also the heart comes out like blood in space, see its source in the middle of her palm, how does the arist himself view love you ask, is the next commitment or the current interest, someone who left someone. Or is this a stylized artwork describing a date? Heart in hand indeed! It’s Atlantis armor, with Romany filigree. Neither of those exist, lol. That is the deep genesis of curiosity Le Baron is capable. What does it mean? He is grabbing questions from viewers I think, has put that in his toolbox. How is it done?
In the painting above, the Halloween day after, the Dia de la Mort is remembered in green and done again in several shade combinations. He has the filigree we couned in him again. But it’s a component of showing this wonderous neon trick of the eye. Neon bulbs, when photographed in a lamp lit room, show a thin strip of white light to the eye. We gladly give our eye!
The Sangre and Blau had to be presented back to back, voile!
Sangre et blau, et gruen! Le color du Revolucion. The connection to the feast day is not known to me, and basically you are seeing motifs in them, beyond the neon tool. But notice the thin bright lines, the are the same, they call the artist, perhaps, to later frames of greater adherence to the neon lined filigree we describe.
Here is a more central example.
He has taken the simple, almost Spanish tracing, like a mariachi hat and gotten something totally new, reflexive, glowing. I have no chronology but the following seems to also gracefully hide the sketch lines and is the very last he hath shewn.
You might like to see the write up I did on Facebook about this glowing beauty. Here it is:
I remember Your Grace, I’m doing a show for you one day! This blue angel of a painting is just as shockingly beautiful as a lightning bolt striking! I saw that before you know, knocked us off Tim’s Motorcycle, lol!
You know, you know my editor says, don’t get to into your own diary of art discovery, but when he heard artist Baron Yunus speak his best to me in very broken English how much he loved being promoted and criticized, that charmed him, so we just talk about technique, and if I’m good, that’s not boring. But these feelings these events, the artist response to our mag boggles me. It boggles me to open up to finally give Doei the art review as promised. It’s been years since begun, and I’d forgotten how many I’d showed an interest and importantly how many were charmed by it, and offered me their friendship on Facebook, often providing me with the unseen!
Baron Ed hath told me of a series of abstracts, no one on Facebook has even seen. Baron Doei, feel free to message me something unviewed to admire and promote.
Moebus is the guest master worker from our past, and I like the chosen being still a living artist, though. His collaboration with the King of avantgarde Film, Alejandro Jodorowsky to make a great graphics novel, is the pinnacle of what graphics art can do. In Heavy Metal magazine, Moebius was highly featured. His work there with a writer who calls himself or herself Zha, was his very best collaborator. I say this to say if the art process is to be dedicated to the brush man, then Zha provided him with a supernatural story of the altar. Technofascism while coming fast, was not informed by Metabarons, it seemed an homage instead, to the previous complex sci fi of manga, graphic novels, and again, a chance for AJ to sink his head into the incredible visual capabilities of Moebius.
Moebius is one of those few artists, well known and even revered in the graphic novel fanbase. To the unwashed that is like comic art. Looking at comic books for a long time of your life as I did as a child you learn a few things about the sketchers. You learn the detail, line thicknesses, art tools from the art pipeline on display, such as maturity of color sections. Talking HD? Above the pink and very big birds, with Moebius signature rounded muzzle, a beast not quite a bird or a lizard, there is a view from an airplane window – its like. How detailed that is, unlike mainstream comic book art. The colors have an eye toward realism, the law of comics. He manages to break that rule by and large by creating a mythology, a pantheon of creature types he would come back to. If only the viewer would dare to see a graphics novel, full of them. Upon seeing more than one, you enture this beastiary.
Not true of every illustrator, but he and our former graphics artist Barry Windsor broke from the realistic color and subject rule, by hyper sampling the tools thereof. I say what I said for Smith, these two graphics men reach for complexity and detail as parcel of graphics arts.
Unlike the great Moebius, the new Baron has an eye for the final dimension. The pipeline teaches perspective, not 3D persay. It teaches us reflection and shine, but the advent of CGI hath taught us all about how we have missed the 3rd dimension entirely, and the Expressionism was not given surfeit of satisfaction. It is, even as is CGI, the advent of graphics illustration in it’s more recent incarnations.
Bright hot colors on cool backgrounds cannot create the effect seen here. There are rounded rivulets, similar to the giided mysticism King Elia does in his Daggerfall. There in the political live party, the stone of the Earth is alive, his name Arateum. I equate the watery items on display to neon bulbs, whether mimicking lava, or water.
I theorized, his arteries were the water which is below the ground, his veins, the hot lava rivulets that live there as well, his circulatory. I know full well no one in the Baronies is that faithful! He is faithful to these glowing objects, we bow. Fire and Water!!
This one is much more two dimensionally concerned. So in line and color.
Water hath a brightness, fire cannot, and fire a dance, the angel cannot move like that, only in the moment of becoming steam. Her permanence is nothing at all, the air, his, an impenetrable pique of empire, aligned into a count of 6 valence electrons, 666 it says, in physical form. So, not art. But is the supernatural itself anything to do with art? Above, subject aside, the lines have little to do with perspective, but it is more than just the mariachi hat embroider. This methinks was where those lines went, and from here, showed him how to create a metaphorical neon bulb, and we shall certainly ask him. Looking at this one it seems an early work. Always instructive to see where you came from. Let’s look further.
Exploring the Baron and why we like him as a colorist is an adventure like getting a tarot card reading, a real one, we asked staff astrologist Reivin Alexandria to tell us what dates indicated the REAL indigenous astrology, not the modernized sun signs. What is scorpio in the old ways? I think it a hoax if I think anytime Mojeno Daro stone wall script is over 100,000 years old.
All at once at some point in his arte experiment vitae, he saw, what we see now, lines of white gave both depth and liquidity, suddenly, objects became neon bulbs and he was off and running to create this fascinating tool. Above, even tattered clown hobo shoes are filled with the love of color and light.
Moebius is no impressionist by any stretch, though he is far more color concerned than most in the graphics game.
Motifs here I assume the artist explored on his pathway to the neon liquid objects we currently enjoy from his toolbox. But lines seem to have a power that is crossover to all graphics tools. Let’s just think Moebius and Artandbd share the exploration of the graphic.
I cannot scientifically tell you why white line atop dark objects has a neon bulb effect, but thick white lines of smoke do not. There is something scripted about the thick lines below. I’d have to ask the Baron if theres any more a relationship, thick lines of filigree to match thick loose lines of smoke. For if our eye misses our supplier of pleasure, the heart of the work uses the motif in question yet again. He is in love with white lines!!
Color is a simple straight forward matter in the artist tool box, every now again color teaches an artist, and off he goes in pursuit a new art thought. They may not remain in place, but instead cycle through to the next art tool. As much as we the viewer, would wish, and artist and his style may be a transient combination. Here, Doei seeks to explore concentric radiating beams of color.
Sections of color are stacked in several modes of parallel lines.
As a classically led usage of impasto color, with lines barely visible. Or letting flame bright colors overpower the line motifs to the point of nonexistence.
We must as artists, let the passage of time take us to new tools.
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