Breaking down Frank Frazetta’s techniques in his Dark Kingdom painting
I think that there is a time in most people’s lives when they (perhaps by chance, perhaps by some magical intervention) stumble upon something that affects them in a truly profound way.
For some, it’s the first sound their child makes, for others it might be when they meet the person they want to spend the rest of their lives with. It could be a Beatles song that finally makes you ‘get’ them, or a meal that opens up all sorts of future possibilities.
For me, one of the defining moments of my life was back in late 1991 when I (at the ripe old age of 14) was given the loan of a book. This book.
From that very first page, I was done for. There was no hope for me. I was a lost cause. In one purely kismet moment, I had become a lifelong Frank Frazetta fan. And if you are at all familiar with Frank and his work, you’ll know that I am very, very far from being alone in that experience. Here’s a painting of the man himself, painted by… the man himself.
The magic of Frank Frazetta
While that first time I opened that book changed my world, it certainly wasn’t my introduction to the realm of Fantasy Art. Far from it, I’ll have you know! No, I grew up with an unhealthy obsession (it’s a pattern, I am aware) with He-Man and the Masters of the Universe and superheroes. So I certainly knew my way around a furry loincloth.
But, Frazetta.
Frazetta has this way of showing you something new every time you look at one of his pieces. You can try and picture one of them in your mind and swear that you have it pretty clearly. But then if you go and look at the thing, even just a reproduction in an old book, you’re inevitably going to spot something you hadn’t focused on previously.
That’s the magic of Frank Frazetta, I think. He just keeps on showing you things. Take this piece (Dark Kingdom, 1976) for example –
Frank Frazetta’s Dark Kingdom: A lesson in focus
Looking at it this painting at face value, you probably first see the bold use of yellow. It doesn’t contrast with the figure at all. In fact, you’d almost go as far to say that it was an odd choice for a background colour. Surely a nice turquoise or a deep blue would suit it better? That way the figure could separate from that background colour a little better? Well… sure. But let me ask you this? Can you honestly see this picture being enhanced by doing that?
I believe the answer has to be a no. Colour theory might have something to say about that, but this is where Frank Frazetta is a true master of his craft. By using that bold yellow, he created an atmosphere. An unforgettable one at that. This painting is essentially defined by the effect that yellow has. You can recognise it a mile away.
Storytelling with colour
Like everything, context is key. This piece, which depicts Karl Edward Wagner‘s quasi-biblical character ‘Kane’ for the fantasy novel titled ‘Dark Crusade,’ shows the amoral immortal descending into a dangerous space, his weapon drawn and a face on high alert. This is where the use of that yellow is absolutely perfect. Yellow symbolises several things, depending on different world cultures. In the West, we see yellow as a symbol for two things – sunshine and caution. Kane is leaving the sunlight behind him as he warily descends into darkness. In other cultures, yellow is a sign of wealth. Perhaps that is what Kane seeks in the darkness?
Zooming in on the image, we see another of Frank’s masterful techniques – the use of detail to attract the viewer, otherwise known as Selective Focus.
This technique has been in use for hundreds of years by artists, but it is hard to think of anybody that did it as well as Frank. In fact, I’m going to come out and say that nobody has done it as well as Frank.
Whenever I think of this painting method, I always think of one specific painting, and a very particular rock within it.
When less detail becomes a detail in itself
Let’s have a look at how Frank draws your eye in to the focal point of the Dark Kingdom painting. First of all, we have the areas that make up part of the painting, but are really meant to be only glanced over as you make your way through it.
The Frazetta approach to colour and light
Our eyes are expertly guided to the figure of Kane, where details sharpen and colours become richer. Look at his right leg. You can see the refinement of it as you move up it. This is not unintentional. Great artists send you on a journey around a painting, This is what Frank is doing here. Kane’s right thigh is the most well lit bit of flesh in the whole painting, surpassed in brightness only by the splash of reflective light on his helmet.
From here, you are met with a large assortment of armour details. The fine curves of the forearm brace (technically a Vambrace, I believe), the chains, rings and totems, the belt ornament. There’s a lot going on in there, but none of it looks out of place, cluttered or detracts from the real focus. Which is, of course…
Even this little section uses Selective Focus. The feathered wings on each side of the helmet are loose and deliberately vague. Even Kane’s beard is achieved with relatively broad brushstrokes. But where it counts, Frank took the time. The helmet alone is a masterclass in skill and design.
I’ve marked a few areas where Frank shows off another of his known stylistic tricks: Applying an unusual colour to places you wouldn’t expect to find that colour. In this case, green. There are dashes of green in the wings, one of the necklace teeth, where his pectoral moves into shadow and, most intriguingly, in his beard.
If you look at a lot of Frank’s painting, you will see this happen often.
Simon Bisley, a big Frazetta fan, used this to great effect himself.
Conclusion
There have been more books published about Frank Frazetta and his work than I have fingers and toes. I should know, I have a whole shelf full of them. And I have all of my fingers and toes. But I want you to go look at your favourite piece by Frank and take the time to really study it. I feel very confident that not only will you see something in it you’ve never truly noticed before, but that you will develop an ever deeper reverence for it because of it. That’s the real magic of Frank Frazetta. He just keeps on giving.
For those of you wondering about Karl Edward Wagner’s Kane books, or Simon Bisley’s Slaine, and even James Silke‘s Death Dealer novels, you’ll be delighted to hear that I’ll be reviewing each of those juicy topics in the future.
If you’re interested in learning more about Frank Frazetta, might I suggest these locales?
The Official Frank Frazetta Website
The Official Frank Frazetta Gallery
Proof that there are more books about Frank than I have fingers and toes
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