As usual, inventions without reference by the pad in Prismacolor and ink.
Post Intro
This group ( 2 ) of sketches are based upon more recollections from Star Wars and the models I have built, plus one that is pure ironic fantasy.
Sketch 1
Nebulon cruiser..’ Into the Deep’. I built an un-detailed model of this out of foamcore… the overall shape is not difficult to draw, then just added fake greebly!
Sketch 2
Miscellaneous spacecraft designs.
Sketch 3
Gozanti cruisers… ‘Planet Fall’. One of these glides by in the background early in Episode 1
Sketch 4
Gozanti cruiser… ‘Across the Rift’
Sketch 5
‘A Face in the Ruin’ Love the idea of robots feeling puzzlement!
The majority of these works are…as usual, inventions without reference.
Post Intro
This group of sketches are based upon recollections from Star Wars and the models I have built.
Sketch 1
Light saber fantasy one.
Sketch 2
Light saber fantasy number two in an appropriate setting.
Sketch 3
The walkers… not accurate but close enough.
Sketch 4
Star Destroyer ruins with the sun shelters of local scavengers.
Sketch 5
Sofa sketches of a transport (like the rusty one on Tatoine) and the old standard ‘Y’ wing. I built models of both and have a pretty good memory! Prismacolor and Ink
These drawings were demos for a class exercise. The subject was a hunter and a chance encounter with an Alaskan brown bear on a hard scrabble beach. Four different compositions are shown along with the supporting sketches.
Sketch 1
A full page of bear gestures. I studied some photos and then put them away and tried to remember its most important characteristics. This keeps your sketches fresher.
Sketch 2
The next step was developing four compositions with little detail. Most are views from near the hunter, but one takes us out near the bear for a fresh viewpoint.
Sketch 3
A series of studies to get the hunter a bit more developed.
Sketch 4
I cleaned up the composition sketches with all the elements in place and a little nicer drawing.
Sketch 5
This is the final developed composition of the encounter. There is very real eye contact between the adversaries here!
The continuing theme for this blog will be along an instructional path. The process ( just my approach and thoughts…no more! ) of concepting environments, architecture, hardware, characters and the telling of a story. The majority, inventions without reference.
Post Intro
This group of sketches are on the topic of Jules Vernes ‘Twenty Thousand Leagues Under the Sea’. These are all inventions from memory with the extra advantage that I built a model of the sub and things tend to stick in your mind.
Sketch 1
A diver…not terribly accurate… but the huge helmet / backpack and skinny figure are the kinds of things to make note of; along with stirred up silt.
Sketch 2
Here are more divers, a crusted chest and of course the Nautilus. The composition has gotten more difficult and since done at one sitting without tracing paper and such… in need of some adjustments.
Sketch 3
Here the Nautilus is at anchor in the caldera of Volcania with some conceptual structures in the distance
Sketch 4
I was focusing on the figure of Captain Nemo here and decided to add the man at the wheel. The figures are descent, but the actual bridge arrangement is all wrong. Hey…its just a sketch!
The continuing theme for this blog will be along an instructional path. The majority will be inventions without reference.
Post Intro
This group of sketches are on the topic of castles and classic tales. None of the concepts are revolutionary in any way, but our continuing challenge is to experiment with overall silhouettes of elements within our compositions to achieve the appropriate response from the viewer.
Sketch 1
A study for Chateau D’IF… concept sketch
This all started as I was thinking about the Count of Monte Cristo and The island prison Chateau D’IF. This first sketch though not bad, just did not have the character I was imagining. There are as well, no mountains nearby, and it just seemed too massive.
Sketch 2
The second study for the prison… concept
This version is a bit closer to what I originally was envisioning. It has a very interesting silhouette and the shapes are more varied. It is still in the running for a final solution to the prison design problem.
Sketch 3
Chateau D’IF the rockbound prison isle…concept sketch
. This was the final solution for that element. Of particular importance…especially with vignettes, is the overall outside perimeter shape of the sketch. Let ‘air’ from the surrounding paper weave into the drawing so as to engage with the page. It is important that the overall shape is interesting and that secondary elements such as rocks and reflections along the shore are not over-emphasized and just ramble on. This could steal too much attention from the center of interest!
Sketch 4
The Count returns…concept sketch
Since I was on the subject I took a quick shot at the ‘Count’ himself. There are, since it is just an invention, some problems that working from a costumed model would solve, but it describes the character reasonably.
Sketch 5
Hamlet with the skull of Yorick… a concept sketch
Shakespeare has always been a rich field to find exciting and challenging scenes with fascinating characters. Here I jumped in with both feet on a difficult problem with strong gesture and three characters. Hamlet with the skull of Yorick…just unearthed, along with his friend Horatio and of course the gravedigger. The challenge is to have hamlet with skull, to not be overshadowed by the other figures or the distant castle. Even if you fail, such problems make you stronger at story telling. ‘Alas poor Yorick…I new him Horatio’! Yorick was the court jester when Hamlet was young. He is shown looking up at the skull since this is how he saw Yorick as a child.
Sketch 6
Warriors home bound…conceptsketch
While on the topic of castles and classic tales, an invention of a Scottish fortification with a scattered column of returning clansman warriors.
Sketch 7
A somewhat romanticized version of the classic castle, typical of subjects I just sit down and start exploring with no certain direction in mind. The use of ‘candy’ colors removes much of the morbid overtone associated with the subject.
The continuing theme for this blog will be along an instructional path. The process ( just my approach and thoughts…no more! ) of Concepting: Environments, Architecture, Hardware, Characters and the Telling of a Story. The odd sketches with no particular purpose will also pop up. The majority will be inventions without reference.
Mud-Hut Post Intro
I was working on a desert shelter made of mud and a few sticks using Bedouin and Southwest American Indian influences to see what might emerge. As at the Watts Atelier…I try to structure assignments that mirror real world tasks.
Sketch 1
Built on high ground with organic forms, it is taking advantage of prevailing winds to carry smoke away…concept 1
Sketch 2
Built at the high end of a natural trough…this version is larger, more open and uses a more aggressive arrangement of sticks, producing an almost insect-like look. Smoke is always a great device to add life…concept 2
Sketch 3
This is: to the locals, a larger and much more important structure (A temple?) The bright saline flats beyond the peak gives a bleak and hostile feel to this imagined desert moon of the distant ringed world. Such visual cues add enormously to a concept…concept 3
Sketch 4
Continuing with the mud hut idiom of the locals, a blinding sunrise ( Ps ) and unexpected high speed visitor have been added…concept 4
Close
The second part of visual magic comes with exotic sounding names writers give to our creations i.e. The mud huts of the Umec on the hostile desert moon Phystan. Writers could do much better!
This was a Stephen King style assignment with horror overtones. This first image includes the paragraph the students had to solve and my quick one hour solution depicting the first sight event shot.
My second solution to the actual arrival at the grim roadhouse. My time for this sketch…about 2 hours. Prismacolor and ink over a very light soft pencil preliminary on toned paper. You will see me use this approach extensively as it allows brights to function better while having no effect on the darks.
