While cute girls are quite relevant to the interests of many, putting them in gothic lolita outfits makes them the sheer essence of what many otaku live their miserable lives for as the result is certainly stunning.
One way or another, intricacy is key to such a style of eloquence – setting aside the lolita aspect, anything “gothic” is already usually ornate, and in the case of fashion, those finer details come in the form of elaborate patterns and stitches, layering, and texture as well of course. Color isn’t necessarily a crucial element since most gothic designs revolve around achromatic palettes – nonetheless, the darker hues, as well as the shadow which acts on the gothic themed subject matter, both are indeed often critical, as is exemplified above.
As is commonly the case with these more unprecedented illustrations, the work above is emanating with excellence on many a front – and likewise, one of such points of unparalleled mastery which makes the image so alluring is the exquisite implementation of contrast, as well as balance.
Focusing first on the contrast, it’s easily noticed that the artwork consists of many layers – these sections are composed of no more than four or five main tones, each spread amongst a variety of intermission colors, or basically, the in-between hues from the lighting inspired gradients. The main tones, which range from skin, white, mid-dark, dark, and black, are foremost in that they establish the form and shape of the subject matter, which is the cute loli in this case – yet they also obviously account for any other physical objects or visual regions as well.
These standards of light and shape apply to most works of art – however, it’s particularly true and fascinating in this instance as color is present to a mere minimum.
Starting from the chest, there’s a portion of grayed white cloth, lined with frills across the top, and fancied with grunge fluctuations in value to ensure that an appearance of textile is had. Note how not only does the texture contribute to that which is seen all throughout the image – yet also recognize how this lighter portion does so much else as well. It gives off an aura of delicacy in itself from how it is illustrated – however, it also further serves as a centerpiece of balance between the other lighter areas, such as those of the hair and background.
Also see, it’s the brightest portion of the artwork, acting as the main focal point as it certainly does come forward both beautifully, and significantly – and not to mention, it of course contrasts the immediate vicinity, as well as the single rose of sanguine atop. The bloody crimson of the rose stands out from lighter colors – it’s a hint of red within a sea of neutral tones, meaning it’s quite powerful an item in the image. And further, the red of the rose balances with that of her pupils – making for a grand total of three spots of red.
A lack of symmetry is naturally attractive – and that certainly applies to the overall positioning and posing as well. The girl is portrayed to the rule of thirds, an ever-effective technique of subject matter arrangement within a composition – and one must also praise the more minute yet definitely meaningful details, such as the single arm raised, as well as the wing extending outward. Essentially, it’s incredible how the balance is unprecedented not merely in respect to placement of figures on the canvas, but even color, shadow, and all else as well.
Now returning to the white segment of cloth – aside from the rose, there’s also the area in which it meets the skin. Depth is heavily defined, and to such an extent of expertise, the transitioning is gorgeous in itself. One can truly assess how the dress is covering the skin – and then, come to realize the charm of the female upper body as well, without any overly explicit or crude emphasis being necessary, as the shadow delivery is sublime, considered, and careful, clearly being very well thought out and gentle.
In fact, another reason as to why the skin is immensely enticing comes from that only a select portion of it is visible to begin with – less is indeed more in this case as it keeps both the mind and eyes in a state of desire.
Moving along, it’s worth mentioning that the skin is surrounded by pools of darkness – a mixture of a lighter shade which makes the predominance of her ensemble, as well as pitch black which takes the place of the ribbon underneath her neck. The white spin-offs, as well as the skin tone, look to glow from being engulfed in such a river of spectral solitude – yet one should not overlook the texture either. It’s the brush strokes, the wispy, streaming and flowing nature of how the colors are laid out, which truly does much to give them personality and embedded emotion.
On that note, the hair certainly speaks – descending in a manner most lavishing whilst showcasing rows and lines of diverse streaks trickling so gracefully. It also makes for a marvelous sight against the subtly contrasting background of a texture reminiscent to handscracped wood – as well as the black and relevant companions in color alike.
It should also be highlighted that the mouth is striking for all the right reasons – accenting the single occurrence of that tone of red to be found anywhere within the artwork, and it’s also a rather intriguing concept in general, grasping attention as one questions the implications of her opened mouth. The mouth offerns an effect which makes it seem as if she’s calling out our direction – perfectly fitting amongst the other facets of movement within the image.
An enchanting display with all things considered indeed – and it’s one which nearly embodies the appeal of gothic lolita dress, with the cuteness acting as quite a welcomed side-addition.