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ripjack β Thing 3-0
Published: 2003-06-22 04:31:29 +0000 UTC; Views: 906; Favourites: 27; Downloads: 60
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from hell,another drawing nearly a decade old, this is yet another 'hand drawing;' too many illustrators are accused of failing to master the hand and resorting to ludicrous lengths to hide them in their art. as an HB pencil drawing on strathmore sketch paper, this one has suffered some smudging residing in a forgotten portfolio; i took a moment with Painter Classic on our Macintosh to eliminate the smudge from the background only; the smudging of hand and shadow now afford an interesting texture and color.
shortly after my family picture was released with the inestimable Raul Julia and Christopher Lloyd, i was forced into a game of science fiction travellers. the creation of my persona, completely out of my hands, turned out to be an engineer of the calibre of star trek's Montgomery Scott. bringing these two ideas together, my ooky persona withdrew behind the trapped door of the engineering department (see my journal) and performed mad machining upon the robot which took all of his savings. converting the control 'brain' into a blue-tooth command module; the legs and pelvis soon sported a small bar table and light (always hand to have some place to put things down); the thorax, head, arms, and new pincer-claws were fitted unicycle-style to a single wheel; the right hand was convered with synthetic prosthetic skin, indirect sensors, and a long range command receiver becoming very much the image of the original Thing from the film.
that left the left hand. going a bit Giger-esque, i fitted it with every micro-sensor i could imagine, a poisoned stinger (with a choice of toxins), and set it loose in the ship's ventilation system. (mostly to make mysterious, haunting noises when it scrabbled around; let's say i didn't really want to play.) this is Thing 3.0's pose for magazines.
catch me when you can,
ripjack
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Comments: 6
awesome-sauce,amazing,bravo!
am I overdoing it?
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from hell,
classical training doesn't mean i've spent time chained to an art school, simply that i learned the old fashioned way.
to me, artwork is more than just a neat idea. there's also how that is delivered. i've seen things with fantastic or fascinating ideas ruined by poor technique; conversely, i have also see those which show a great deal of polish and technique but relatively no interesting basis.
the reasons i haven't much in the way new artwork at the moment are the twin concepts of passion and theme. i selected these two from my old portfolio because they are some of my most passionate works i still retain. over the body of work i have at my disposal, these are two pictures i simply had no choice but to draw (that i can show in polite company); that's passion, why draw just to draw?
the kind of theme i now pursue is the way that the subjects in a picture are metaphors and their array suggests something. in more visceral works, the way that locks of hair or stray fingers point to the mouth to infer oral intercourse. and that's just the most obvious (like found in advertising).
at the moment i'm designing a pair of pictures; in one the subject is removing the helmet of an animal themed anime armor and in the other a bevy of beauties surround the point of interest. in the former i plan to juxtapose animal power with human beauty; in the latter each beauty will represent the passions in my life. one contrasts a beauty (implying intercourse) with the beast (implying lust); it also opposes classic looks with nature spendor and then contrasts aesthetics with the visceral (i may even contrast east and west by doing a yin-yang celtic knotwork for a background). the other will superficially appear to have my passions 'wanting' the subject (metaphorically me), but if i do it right they will each appear to desire my company alone; these are the themes i'm working on right now.
unfortunately, as i said, i am very slow.
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Great work. To me, someone with little or to no classical training or traditional skills itβs very impressive. The technical aspects are not as important and the interesting concept.
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from hell,
a long time?
sorry, i'm classically trained; hands get a lot of arpeggio-style practice. it only took about a half an hour to set up the pose, this spine is a pattern i'm quite familiar with (it's not human by the way, but i'll leave what to you imagination).
if anything i consider myself slow compared to my cyn (she even draws in ball-point pen without undersketch), but this took me only about 70-90 minutes of distracted sketching.
i realize it may look inked but my habit is to draw and then erase, slowly moving the lines to where i would have them granted more fine-motor-control. i was most happy with the 'stripped down' look given by the touch surfaces implied on the fingertips. (their flush with 'where it should be' in the human form, the remainder of the figure is 'thinner.')
catch me when you can,
ripjack
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thats so brillant
it must have taken like an age to do
very very nice i love it
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