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March 24th, 2005 - Trickle of Consciousness — LiveJournal
I seem to run into more and more days when I wish I had a better vocabulary for discussing visual art. I don't know if that means I'm finally starting to develop the beginnings of an eye for these things, or if I'm just overwhelmingly jealous of The Pickytarian, but either way, it's there.

Heck, this time it's not even the line art generally, but is focused on the inks. Specifically, Andrew Hennessy's inks on Spellbinders #1. Between this and his work on Madrox, Hennessy's developed a line that's ... see, here's where the words start flipping me off and loudly mocking my inability to use them. I want to say it's fluid, but that's not right. Or, rather, it's not right in context. A fluid line is such because it flows, whereas Hennessy's line is fluid in the liquid sense. In both of the books listed above, figures seem, well, malleable, I suppose. Soft. Just a little ... melty? I have this weird sense in some panels like I could dip my finger into the image and the whole thing would suddenly produce ripples along its surface.

In both cases, it works just fine for me. Madrox, with its questions of identity and duplicating / absorbing mutants (and shapeshifting mutants, for that matter) seems the kind of story that benefits from equally fluid visuals. Spellbinders does the same. There are unseen demony things and people turning into piles of lizards and hands shaping themselves out of walls. With the overall sense that the world isn't as ... well, solid and immutable as we want it to be, that same liquid effect contributes to the atmosphere of it all.

There may not be a point here, beyond the fact that I (probably unfairly) don't tend to attribute stylistic elements to inkers, and I'm kind of excited that I seem to have come across one all on my lonesome. Possibly, too, this is just a blind call for confirmation that I'm not just convincing myself the element's there.

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