|Vincent Van Gogh|
|Joseph Clement Coll|
|Still from KLUTE as Roy Scheider gets creepily tender/threatening with Jane Fonda.|
|The cave paintings in Lascaux, France|
gLargely if you are working in any form, gallery or commercially, you will be encouraged to do color pieces over black and white. People like color more. A great film presented today in black and white will inherently do less business than that same film shot in color. It is what it is- I don't particularly respect that attitude but I live in the world and this is one of its realities. That said, there are tremendous things being created by artists today without the aid of color. And you know what? You can often sneak in a black and white piece where color is called for simply by showing them how good it can be on it's own. If you're making book covers, and the knee jerk response to the myriad of vibrantly colored covers not he shelves is to go louder and more vibrant with color, go the other way and see how much more it pops out from the noise. This is particularly true of comics. If you can conduct an orchestra with just your pencil, you can then do so with any other tool. Color has its place but that doesn't mean we must once again as with awards, force a sports metaphorical way of reducing what we do by needing to pick a first place winner. There is no actual inherent value scale other than the one we put upon it, so why bother doing it at all? Again, to me to see the line as drawn, the smudge on the paper of the artist's thumb or elbow, the way that charcoal or graphite sits on the surface of paper or board is where it's at in my book. We had originally intended to do INDEH as a full color painted book, and I am SO glad we didn't. Utilizing that narrative tendency black and white comics have as a basic tenet of its storytelling can in fact deliver a more powerful story than if it were full colored in some way. Its where we all start and sometimes it can be where we stay.