The Fluffer - Page 3

It says they don't -necessarily- involve touching the actors. Doesn't say they can't! I think he's just dedicated to his job and willing to use all the tools at his disposal. :P

Ruaidri

So I googled what the definition of a fluffer is and part of the definition was "These duties, which do not necessarily involve touching the actors...". Mr. Fluffer here could have it worse! He could have been hired as a no-touch fluffer. Though I suspect he would either pass up such a job or go rouge.

To be honest, I'm still sort of figuring out just how I want to go about the colouring. My goal from the beginning was to play around with a somewhat flatter colouring method, simply in the interest of saving myself some time. I think it could work- to me the top three panels all look pretty good even if there's no real shading to speak of. It could maybe use a touch more, but I think it's a good direction. However, I wasn't quite sure how to handle the lighting on the fennec guy. He's in the dark but being hit with bright directional light, and I couldn't really think of a way of covering that with mostly flat colours, so he sorta gets special treatment. I'm hoping that it doesn't look too out of place, but I'm thinking I'll need to add at least a touch more shading in the bright areas in future pages to make things meld a little better. I dunno. But yeah, you pretty much nailed it, that's what you picked up on. First few panels don't have any real shading and the last one does. :P Very happy to hear it's looking good though! Thanks for taking the time to write out all your thoughts, it's very cool to read. :D

Ruaidri

As an interesting tidbit of viewer-side opinion, when I first glanced at the colors here I thought "These look a little lighter, saturation and contrast wise, than a lot of Ru's other work" so I went and checked out what I was thinking by comparing to some other pieces. What I found was that the colors are actually fairly close to your normal colors (as I know you've been trying a bunch of different techniques and mediums in here and they all play out differently with the finished product), but that the first three panels all have very bright and almost omnidirectional lighting. The absence of shadow made it 'feel' like it had less color depth and contrast between the colors. Then I compared panels 1/2/3 to panel 4, where there is shadow to some degree, and everything felt normal there. Plus, panel 4 made it clear that the super bright lighting in the previous panels was intentional, clearly since this is a film set with professional lighting. Like I've said many times before, that's not something most artists would think about and include, especially if it was challenging and most viewers wouldn't know or look for it. It was very interesting to dive in and find out what was different in here! I think the fact that you still captured the horse's muscle definition with no shading at all is amazing. Your fluids in here (which I mentioned on page 1) look clear (color) and defined (lines/visibility), which you said you are trying to do more of, so you're on the right track with that! Anyways, just some internal rambling that may come across as informative or interesting to you as the artist :) Looking good! I should hope that some generous soul would notice the fennec over in the corner having such an animated internal struggle and lend him a hand!

Bloudin Ruo

Woo! Straight/Gay representation ftw!

Ztpia