Dustin Nguyen demonstrates a great understanding of figures, from realistic proportions to stylised, cute versions. His preferred medium is watercolour paints and from what I can tell, he uses coloured pencil for the line art; using a black pen may ruin the effect the water colour gives, and also alter the visual language entirely, for his work has a rather delicate touch.
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His use of white and negative space often makes it the focal point of his work. Negative space on clothing, objects and skin that represent edges and reflections are simple, but are very effective - negative space is easier to see from a distance, it's like seeing a light at the end of a dark tunnel.
His use of watercolour here further enhances the reflective effect the negative space gives, because the watercolour, (unless used with gouache), doesn't tend to leave a solid colour. There will always be a hand-touched texture, brush-strokes etc, making the painting feel organic, as if it can move, and the different minor textures can often look like stretches or creases in the clothes or skin, or the rugged surface of rocks or buildings, for example.
His use of watercolour here further enhances the reflective effect the negative space gives, because the watercolour, (unless used with gouache), doesn't tend to leave a solid colour. There will always be a hand-touched texture, brush-strokes etc, making the painting feel organic, as if it can move, and the different minor textures can often look like stretches or creases in the clothes or skin, or the rugged surface of rocks or buildings, for example.
4The style he does, depicted above, is cute and cartoony, but organic and fluid which adds an element of movement to his work, due to his skilled use of watercolour.
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In-Depth Analysis
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Even with my lack of watercolour paint skills, the paints naturally give the effect of fluidity and movement. It also makes an image with little content more interesting because there are little nuances to the method, like brush-strokes and choice of lighting.
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Taking a look at the style of line-work in Nguyen's "Li'l Gotham" illustrations, I redesigned the characters from my story. I didn't intend on adding watercolour to these, so I instead added more lines to depict definitions in the characters. As a cartoon style, it's very playful and fun, while maintaining the ability to express emotion; the faces and figures are kept quite simple allowing for a lot of potential alterations to reflect their emotions and actions.
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Experiment #1 - Watercolours and Playful Cartoons
Even with my lack of watercolour paint skills, the paints naturally give the effect of fluidity and movement. It also makes an image with little content more interesting because there are little nuances to the method, like brush-strokes and choice of lighting.
Experiment #2 - Reiterations of my Characters
Taking a look at the style of line-work in Nguyen's "Li'l Gotham" illustrations, I redesigned the characters from my story. I didn't intend on adding watercolour to these, so I instead added more lines to depict definitions in the characters. As a cartoon style, it's very playful and fun, while maintaining the ability to express emotion; the faces and figures are kept quite simple allowing for a lot of potential alterations to reflect their emotions and actions.
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Experiment #3 - Putting the Characters in Context
In this brief experiment, I'm looking at putting the designed characters in context, as you would when illustrating a graphic novel.
Having the characters in little context opens a lot of potential for imagining their context. Similar to a statue of a person or figure; it can represent the concept of the character or a story. However, when you put characters into a more defined context, like below, it gives more information, directing the context of the characters, meaning they're no longer just a concept. (I explore this more in Daigo Ikeno, consult tabs at the top of the blog)
Having the characters in little context opens a lot of potential for imagining their context. Similar to a statue of a person or figure; it can represent the concept of the character or a story. However, when you put characters into a more defined context, like below, it gives more information, directing the context of the characters, meaning they're no longer just a concept. (I explore this more in Daigo Ikeno, consult tabs at the top of the blog)
Since the drawing style is rather simple, the painting makes the image more interesting, while also giving more information. This hand-touch method adds a personal quality to the piece, and makes the viewer appreciate it a little more than simple digitally added colour.
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Nguyen's use of Watercolours makes his cartoon drawings come alive with an organic fluidity. This Visual Language is what sets Nguyen's work apart from other illustrators.
References
1. "Grifter and Zealot", Nguyen, 2010
2. "Your Friendly Neighbourhood", Nguyen, 2015
3. "detective comics 850 cover", DC, Nguyen, 2009
4. Marvel, Nguyen, 2008
5. "L'il Gotham" Volume 1, Derek Fridolfs, Dustin Nguyen, 2014
Bibliography
1. "Grifter and Zealot", Nguyen, 2010
2. "Your Friendly Neighbourhood", Nguyen, 2015
3. "detective comics 850 cover", DC, Nguyen, 2009
4. Marvel, Nguyen, 2008
5. "L'il Gotham" Volume 1, Derek Fridolfs, Dustin Nguyen, 2014
Bibliography
(Scanned double page spread) "L'il Gotham" Volume 1, Derek Fridolfs, Dustin Nguyen, 2014
(http://www.comicartfans.com/gallerypiece.asp?piece=684923) Comicartfans, "Grifter and Zealot", Nguyen, 2010
(http://galleryhip.com/dustin-nguyen-batman.html) Marvel, Nguyen, 2008
(http://www.comicartfans.com/gallerypiece.asp?piece=684923) Comicartfans, "Grifter and Zealot", Nguyen, 2010
(http://galleryhip.com/dustin-nguyen-batman.html) Marvel, Nguyen, 2008
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