You Look Good In Anything, Sherlock

As I race to get things done in time for both the Seattle Sherlock Con (sorry, registration is now closed)  and NaNoWriMo (any writers might want to take a peek at my new NaNoWriMo prep post with a new Novel Project Development Worksheet at IconoclasticWriter.com), I went completely insane and decided to try to write, design, and complete not one but two special projects to premier next weekend. And since efficient production doesn’t always follow in a linear fashion, I ended up doing the artwork first. Now I’d like opinions as to which one to use in the project (the others will be used in a different fashion).

So below are three images. Let me know in the comments which you like best and would like to see printed — I mean physically printed — as well as optimized for screens.

Oh, and if you don’t hear a lot from me this week, know it’s because I’m working on dropping a bunch of new things after the 4th.

Version A: 1980’s – Style Posterized Version

Posterized version of Sherlock on the rooftop in Reichenbach Falls with the text "What might we deduce about his heart?" and "Sherlock Cares"

Version A: A Simplified, posterized image similar to some classic 1980’s poster artwork by artists like Nagel and Goines

Version B: Hyper-Vibrant Millennial Art Style

A poster with the Sherlock on the rooftop ready to jump image plus one of Benedict Cumberbatch as Sherlock on his mobile phone talking to Martin Freeman as John Watson on his phone

Version B: Hyper-Vibrant Millennial Style

And finally,

Version C: Retro Vintage Style

 

The Sherlock rooftop image along with the Benedict Cumberbatch as Sherlock and Martin Freeman as John Watson on the mobile phones from Reichenbach Falls

Version C: Retro Vintage Style

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3 thoughts on “You Look Good In Anything, Sherlock

  1. Susan

    First one definitely as it shows to what extent Sherlock will go to save his friends. The other two with the faces seem way too negative. Hurts to see both of them in pain.

    OR

    The first one identifies the moment of transition, without the tragedy of the reality.
    As for the other two, it’s painful enough just to think about the reality without actually staring at it.

    To get over this, I went back and re-read the first four Holmes Boys. In feel better now.

    S.

    Reply
    1. Watson Post author

      Ooh, brilliant analysis, Susan. It hadn’t occurred to me why I liked the posterized version best (aside from the fact that David Goines is one of my art heroes and I also loved Nagel’s style in commercial designs).

      I did the versions with the faces because a fan friend, who liked the first one, then said, “But you know fans really like seeing their faces and there’s some amazing angst in that scene.” So since the project is somewhat focused on Reichenfeels, I thought Sherlock fans would like the portraits. Oddly enough, so far the vote has consistently been for Version A.

      But I just posted on Tumblr and will be tweeting today or tomorrow, so we’ll see what the response is from the Sherlocked and Johnlocked.

      Glad the Holmes Boys were there to make you feel better. 🙂

      Reply
  2. Anne Zanoni

    Yes… the faces make the feels come out. Seeing SH poised, we know what he’s going to do, and why he’s going to do it. We even applaud him when we know too (and by now, most of fandom does know, even though we all scream “NO, Sherlock, don’t–!”).

    Showing them on the phone is a separate thing entirely. It IS the RF feels. (Or as TV Tropes would put it, Major Tearjerker.) I know people exist who don’t weep over RF.

    I’m just not one of them. >.<

    I do love the first poster. 8)

    Anne*—

    Reply

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