d355 120610 Fate Testarossa 2012

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(This is a merger of what was originally two posts)

I said last time that 2012 was a good year for painting, but it’s really an unprecedented turnaround. From a high of about 20 in 2006, the number of paintings per year (not counting test paintings, etc) had dropped to just 5 in 2011, and there weren’t really any good ones either. Bucking this trend, 2012 has seen 13 paintings in just 6 months, and there have been maybe 4 that I’ve really liked. Fate 2012 is the 4th.

This painting is more or less a flat out redraw of Fate 2008, because I’m feeling really creative these days. Unlike the original, it is faux cell-shaded; I say faux because it is really just me drawing and coloring the shaded parts in OpenCanvas. The colors are also ripped from the older painting; I’m not quite sure what I should be doing as far as choosing master/secondary colors in a cell-shade situation.

Fate is actually my third cell-shade since I decided to give it a try again a couple of posts back. It is still somewhat experimental, but not as experimental as the second:

For whatever reason, all of my Senjougahara paintings are semi/experimental. I actually rejected this lineart for a more traditional painting (the lineart that I thought was better actually bombed) before coming back to it. For once, I think the “painting” actually improved the lineart; I definitely think the combined result is better than the painting and/or the drawing individually.

And the first return-to-cell-shade experimental is this relatively crude Rita Mordio; the lineart started out as an ink test back in January(?), which I ended up re-purposing.

This sequence is the first time I have attempted anything remotely like cell-shading since this quite frankly rubbish Tales painting from 2005 In retrospect, I wonder why I decided to go down the “painting” track back then, given that my “normal” drawing is much closer to cell-shading than any sort of painting; after digging through my archives, I’ve concluded that it must be luck (or misfortune) of the draw.

I originally wanted to attribute my direction to the fact that chronologically closer OpenCanvas paintings must have been notably better, but they really aren’t necessarily so for at least another year. If it wasn’t Disgaea 2006, it was the following Kamio Misuzu 2006 that cemented OpenCanvas painting as my coloring method of choice for a very long time.

I also dug up two “soft” cell-shades that I had completely forgotten about and have never posted. The Colette was actually done right after the aforementioned Tales 2005 coloring, and it seems to be some sort of improvement in hindsight, so again, I’m not sure why I did not continue development. The temporally earlier second coloring, simply labelled “DPCloud”, is unique in that it’s the only painting I have for which I believe I did not draw the lineart. God knows who did, though.

EDIT: There is a second painting I have for which I did not do the lineart, and that is my half of the BKS 10th Anniversary “cover”.

I asked J about why he paints the way he does, and his answer (my interpretation) seems to be more or less along the line of mine: dunno. J did mention that he “just liked it that way” (something along those lines), but at least at this point in time, I don’t feel like I have a strong overall preference for any specific method of coloring; I think they all have their pros and cons with respect to process and result. Conceivably at one point I did have a preference, and I just had the thought that I bet it’s Ken Akamatsu’s fault.

That being said, the reason for this whole cell-shade deviation is that I think it is time to re-evaluate what I am doing with regard to coloring… more next time probably.

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