Words from the Creator
Sat Sept 26 2020 Updates; Tribute; Lore; Adaptation; Thanks
Sat Sept 26 1:01pm – 3:48pm
Been catching up on the Depp defamation case against the Sun (in the background, while I process stacks of comics I originally purchased as a teenager in the mid 90’s.
90’s: Todd Macfarlane, Anne Rice, Brandon Lee, X-files
I was sort of losing interest in them after I graduated highschool; the time when Todd Macfarlane and Jim Lee were freshly into Image comics, and considered the top of their field. My art sort of went from super detailed, Macfarlane, to more precise Lee, and then to more grisly Tim Vigil ( Faust). The Crow had recently been the movie phenomena inspiring the themes of the day, there were alot of goths, and popularity of Anne Rice’s Vampire novels, successfully translated into film.
Audio Book: Lestat
I recall my first cross country road trip, with the family, and listening to a an audio book of the latest Anne Rice novel. I honestly, didn’t ‘get’ the eros, as intentional, it seemed like alot of detail, that embellished, an overall plot that I was following, which was the power trip of Lestat, and the reimagining of the vampire etiology and physiology, in the form of Rice’s drama ( that was the time “X-files” was the most popular show); which was more compelling to read than previous vampire stories, which typically were short stories, relying on the suspense and novelty of discovering the horror of the vampire; but once that concept was revealed, most stories weren’t interesting, unless the character’s stories were interesting; which is what Rice did successfully.
Lestat was interesting, because in subsequent stories, he interacted with the people of the time, utilizing the gimmick of his powers, to explore, like speculative fiction, the idea, of being a rock star; with lyrics written by the author, in character and matching the lore. I didn’t read all the books. After the first two, a sister of my best friend, got me a third installment, which I read; alot of it was not as interesting as the previous novel, to me. Upon reflection, the main aspects of the story that interested me, were the unique ability, the novelty of the anti-hero, the blood etiology of the vampires, as ancient aliens ( I haven’t read it in awhile, that’s what I recall of the origin ), The ones who must be kept, the power levels of the main protagonist increasing after interacting with the original ancient one, Lestat as a sort of non malevolent character, who became supremely powerful.
The majority of the eros was lost on me, at the time. I haven’t re-read them, so I don’t know what my impression would be, since having dated, known women, sex, ect,.. The lasting impression is the well thought out lore, which is independently interesting, and has messages, conflicts, dynamics, meaning, purpose, characters that embody traits, archetypes, which people can relate to, transform the subjects they are associate with ( ie, the idea of Lestat, as a rockstar requires the clear definition of Lestat’s character, and then when combined with something that there is a widely held common perception). Such could be done with Cthulu ( Love craft: as in Mick Farren’s Renquist novels, ), and lurid pre -code horror.
Lurid Max Presentation: Two tasks
So two major tasks, as I see it, are a) creating lurid pre coded horror scenes b) creating characters and stories ; such that when they are combined, ‘b)’ lifts the readers above ‘ a)’, in such a way, that mainstream viewers, feel safe to walk past the horrors scenes, from where they stand with the protagonists ( with the main characters because their story is so well defined, and relatable). With viewers seeing the horror from their perspective; as horror, despite the lurid aspects.
This transforms, the message of the lurid horror, as something passed by the characters, in their story; with the lasting impression, being the characters and story; rather than the lurid horror scenes. The lurid horror ( often censored, or created in inferior, one shot, exploitative shock format) could be, as Rice’s passages of eros ( which weren’t required to advance the plot, but added some sense of raw ambiance ), a sort of default background, filler, or context, framing the tone, and adding a sense of order to the plot, and development of the protagonists, juxtaposed with the chaos, or brutality of the lurid horror; endearing the protagonists, to the sensitive viewer, and increasing the significance of their survival, transcendence, and overpowering the antagonists.
Concepts of Power‘s Expression
I am interested in power, the concept of it, and expressing it. There is far more power in the will to protect, preserve and share love, than there is the contrary. However, heroism, doesn’t exist in a vacuum. Why does a story about a utopia, if presented as a didactic sci -fi presentation lack the widespread interest, as a story with conflict, love triangles, and tragedy mixed with triumph? Why not a story where everyone wins? Or a conflictless presentation, with just pristine images of polished items. Art is often experienced, while someone is in a moment of solitude. The unique power of comicbook art, is that someone reading the panels, and seeing the expressions, dialogues, can experience a sense of being in the presence of other people. Any personalities can be conveyed, and depicted with art and dialogue. It’s an opportunity to blend both visual art with writing, to enhance storytelling. The best stories, leave someone appreciating themselves, and allow them to reflect on solutions. One way this is achieved, is by presenting ‘characters’ which encounter ‘problems’. The ‘showing’ ( or telling) of how a character solves a problem, can be something they can compare to their own. And when the problems of another are far greater, the person with lesser problems, finds gratitude.
One of the most powerful conveyances in visual art/story form, is evoking recognition. Marvel is so well known, because it is so recognizable. People recognize the characters, so it feels like it is an expression of themselves. Successful horror films, make the viewer feel they are in the situation; and finally relieved, at the end of the film, admiring the characters who have survived.
Lurid Horror, Survival stories 80’s, 90’s
Thus, there is a place, where lurid horror, in a story, is therapeutic, and healthy, for someone in solitude. Like insects, at night, outdoors, assaulting the senses, from an otherwise tranquil experience; lurid horror, can snap one out of a sense of security, and into one of a) heightened awareness b) evoke a response.
Typically, in a straight male, the lurid scene ( referring to ones where a semi nude or nude female figure is featured; like all the fumetti of the 60’s, 70’s; Men’s pulp magazines, ect) heightens the awareness of the female form. If the scene implies horror, then this evokes stress. The image is disturbing; because it has heightened someone’s awareness, in a stressful way. And gore, evokes repulsion. Generally, someone reading articles on the internet, who comes across a gory photo, flinches, in some form, and is instinctively repulsed. This is a disruption of the normal, serenity. After which, the serenity is appreciated, and the horror, is attempted to be forgotten. Thus a lurid/horror image ( ie, on a cover of a book) can be vexing. An image, of suspense, with lurid horror, can be vexing, and imply a further disturbing scene; the imagination, can be far more distracting. However, as anyone, in the current era, who has seen videos from terrorist, with gore; or the latest Mortal Kombat finishing moves; understands how viewing the explicit gore, like touching a hot bowl, results in a strong, reflex, of aversion, and repulsion. After which, unlike the suspense images, the gore images, leave one wanting to not think about. Since the implied scene was shown, there is less vexing, or left to the imagination – in proportion to the resolution, realism or detail of the image.
Vexing Implied Outcome
Thus, it occurred to me, Mortal Kombat, doesn’t have the same vexing effect as an implied suspenseful image. The latter, such as Fastner and Larsen’s ” Kiss of the Ax”, imply a scene, with an idealized semi-nude female figure. The image itself implies a sequence, but it isn’t shown. This evokes imagination. In the same way current politics, about potential fraud in elections, leads to numerous variations of how the fraud could happen. The anxiety, evoked, by the implied possibility of fraud, ( the fear of it), takes up more attention, than the news, after the election would. The result, would address the fear, and the outcome, would be a single item to process, and then no longer thought of, whether good or ill.
Since any lurid horror scene, catches the attention, on some level, it seems, the ‘outcome’, as presented in AAA games ( Skyrim, Mortal Kombat), addresses the repulsive scene, directly, and then it reduces in taking up attention. So, it seemed, to me, that if all the artistic representations of lurid pre code horror, showed the implied outcome, it would be take up the least attention. Example, in application.
Boris Vallejo’s Tarnsman of Gor Cover
I recall, seeing Tarnsman of Gor, ( the Boris Vallejo cover) in an anthology book, entitled “Space Wars”. I have never been able to find this book ( it was oversized, full of paintings of fantasy art, maybe 320 pages; I had seen it in my elementary school library, in the mid 80’s), the caption read :
” The terran, having witnessed her entire family slaughtered, is next to be butchered, as chattal, for the entertainment of the slave master.”
This description, was obviously made up by the anthology authors. The painting had been first used ( to my knowledge) as a cover for John Norman’s Tarnsman of Gor. I read the book at some point in the late 90’s. I wasn’t expecting high literature. Alot of slave talk, fantasizing about women, as slaves, and details about the social structure, and everyday experience. At the time, I didn’t ‘get’ what it was about. Thus far the plot was not particularly unique. A man arrives in a parallel world, or something, and here the women are slaves.
The actions between the men, are mostly like gorillas, or dogs, asserting command; with fights, determining the livelyhood of the women slaves bound to them. Interesting, as far as the depiction of alpha male, dependent on brute strength, or science, ingenuity ( building traps, or using intrigue), versus the prevailing superhero chivalry of mainstream. The scene on the cover, is vaguely represented in the store, as Talena, being pushed toward the impaling pit ( I think, I recall). Otherwise, the narrative is different than the “Space War” caption.
From the “Space War” caption, it was implied what was going to happen next. But it was never shown, anywhere, in any art, illustrations, cartoons, ect. I recall, looking for it in libraries, and eventually, trying to draw it, as I had dragons, and Skeletor, He -man toys, transformers. I also recall, family members being somewhat unsettled, at seeing drawings based on Tarnsman of Gor. So, I would put these drawings in a stack, and conceal them, separate from the others. Stubbornly, I didn’t desist from drawing it. At some point, after being a painter for a couple years, I did a painting of related scenes; and lost interest. In and of itself, it’s a very limited subject, comparably.
Origin of the Apocrypha
Later on, as I was storing these old drawings, I recall my best friend from highschool, once telling me to keep these drawings. Emphasizing, that, just because some people, or most were unsettled, that they had value, were worth preserving, in and of themselves, what what they represented, both in skill, and subject matter ( scarcity, esoteric, horror nature ect). I have always, gone the extra mile, to impress people, ie, with writing skill, stamina, or physical strength, feats, knowledge, or music, speed, dexterity. But underlying it, is a foundation of compassion, and well being. The idea, of a lurid horror scene, is viewed, from my experience, in light of a hard working, humble lifestyle, taking for granted, responsibility, work ethic, kindness to others, righteousness in deeds, and trying to bring goodness to the world.
How does lurid pre code horror fit, into a this. How does it bring goodness into the world? I recall in 2014, thinking about how movies that champion goodness, are structured. There is a symbol for injustice, and a symbol of goodness, the villains commit crimes, are shown to apparently prosper, as the innocent suffer, until, a savior comes, and defeats the villains, who ultimately suffer grater consequences. A microcosm of the life experience of anyone attuned to it.
Training Montage, figuratively.
I wanted to devote my time to art creation – using strength gains, and nutrition knowledge and see how much I could create, and how sophisticated my detail could be, with martial arts, and the phenomenal energy generated with it. I had minimal interest in repeating what I had done already ( portraits). I was inspired by the Marvel movies, and I wanted to imitate them, in a way other than fan art ( considering I was a graduate with a masters, in a field of medicine, requiring the most scholastic and physical discipline of any education endeavor I have experienced up to that point) and I plowed through the many things that are required to be a comic book artist ( seeming, to me, the most challenging art form to master, for it’s diversity, of subject familiarity, and application, as knowledgeable choices of stylistic representation, to create pages, at a certain rate per week, per month, for years), like someone lifting weights.
The progress, of seeing my study drawings increase in accuracy, was satisfying. Applying them to pre code scenes, seemed like a level of quality control, that was advantageous, and required above average discipline and time on task. I saw the rough layouts, and my stamina for making sequences, increase in sophistication, and freehand quality/detail.
I have met various intelligent people, who think they have a great idea for a comic book series, or graphic novel ( throughout grad school, and martial arts training, farming industry, relatives, neighbors, and online notes from viewers of my various galleries). They rarely are made, because the idea isn’t written into a panel by panel script, or they don’t draw like a comic pro, if at all. These stories, which they are so enthusiastic about, are generally one removed from fact; ie, they change one thing, from what is otherwise, a cross section of their life story. For example, someone living off the grid, who feels passionately about the harm pharmaceuticals do; creates a story about a group of people living off the grid, that do something about the pharmaceutical industry. Sounds great in conversation. Without a script, it doesn’t become the graphic novel they envisioned.
A key, in the ability to have the idea, become a graphic novel, is the mastery of drawing the panels, that would convey the images. This is a degree more advanced, than simply being an artist ( even a proficient one); this required finding and studying, and applying reference images, to incorporate aspects of them into the artists panels, such that they best depict the visualized scenes. For an idea one can gain from a couple years of experience, and conceive as a graphic novel, visual image in the mind, overnight; the creation of the comic pages, as envisioned, can take years by an already developed, experienced comic book artist.
Some of the experience I have, already prepares me for creating comics, but there is that which remains to be studied. My initial process, was to study that which I an inexperienced with, daily, and as a priority; from 2014 – 2017; at the 3rd year, I had enough in the repertoire to put something together, I felt.
Stories to tell.
There are many stories, I want to tell. About people, relationships, dramas, and the overcoming, perseverance and inspiration of goodness, strength. However, as simple as it might seem when stated, one of the epiphanies, that led to the launching of Lurid Max, as the first project, brand, was upon analysis of Star Wars, Lord of the Rings, Harry Potter, Dune, Highlander, Fast and Furious, Aliens, Nightmare on Elm Street, Batman, Bruce Lee , Van Damme, films and other ‘series’ with phenomenal lasting interest for fans, there are clearly defined protagonists, and arch villains. For an audience to root for the gung-fu master, ( as opposed to yawn, at the inevitable victory), depicting the helplessness, powerlessness, the victimization of loved ones of the protagonist, ( who is not shown to be aggressive, or showcased for his physical prowess, fighting skills, yet) , results in the outrage of the audience, and desire to retaliate against the character depicted as responsible.
Ie, there is a parallel to that in social media ( very similar to the phenomena with Tv soap opera fans) , where an artist who depicts 1st person, or otherwise empty scenes, where there is simply a helpless ‘victim’, suffering, that certain viewers get so outraged, they ( verbally, with text) attack the artist, for being responsible.
Passionate repulsion, preceding rooting for the Hero.
It is this passionate repulsion, which drives the viewer to be invested in, and feel satisfaction, and approve of the fighting master’s ( the hero, or anti heroes) retaliation/justice. This was used in the Schwarzenegger era kick ass action films, and related ( Bruce Willis Die Hard, ect) media ( comics, video games, toys: all about kicking the villain’s ass). In a peaceful utopia, there is no kicking ass, until a villain shows up to threaten it.
That’s where lurid pre code horror was historically utilized, ( frequently, but not always), and can be an element of story, that significantly invests the reader in the protagonists physical fighting ability, as applied to the villains.
Since , I personally, invested decades to training, and had a story spanning a series of situations, I wanted to express as a story. I thought about ways to express it. And some of the iterations that weren’t desirable: a) telling people you meet, about theses situations ( it scares women you are trying to date, or prevents people from feeling comfortable to be your casual friend) results in people staying away from you, and not talking to you ( essentially isolating you). b) a novel, that is non-fiction ( you reveal the weaknesses of others, you’re assertions are attacked by readers, as arrogance, and you make enemies, of anyone you portrayed in a critical light; including close family members and friends, who cease speaking to you for a decade or more).
Confidentiality Conundrum. Greatest Stories never told.
Nonetheless, as a social being, it is vexing, to have the most intense and interesting story of your life thus far, being one, that you know, upon the telling, has negative impacts on others ( not because the story is bad, but because of the weaknesses and failings of others: for example, if I report, the indiscretions of high ranking officials in my place of employ or people I encounter, as a literary accomplishment, or novelty; the price is something that affects me negatively, even though, the message might be positive; due to the consequences of the shame and rage of those who are portrayed in a way they didn’t want to be. ).
I conceived of using creative non-fiction. What about a marvel universe? And lurid pre code horror. Like I said, I had wanted to come back to art. I was really appreciative of the inspiring achievements of the related Marvel films, in their innovation, at the time, of having characters from previous stories, interact with character from other stories, in a vast story, that could be watched as a series of related films. With villains, that could be as repulsive as Wes Craven horror villains, but a plot that has more than urban survival, a plot that is like a World War; Lord of the Rings. With special abilities, like Skyrims Dovahkiin, Star Wars force.
Basically, a Wes Craven Darth vader, in Middle Earth, with Marvel heroes, speaking the lines of my creative non-fiction, telling the story of domestic abuse, and martial arts training, and standing up to wife beaters, and being challenged by other elite martial artists, and the nutrition, and skills that enabled being able to not be injured, and the social journey, of gaining physical prowess, ( the specific foods), as relates to increasingly well developed females in proximity ( work, school, passersby in the park, beach ect). Feats of strength, man vs nature, adventure in the outdoors, and knowledge of flora an fauna.
These were at the core of all the brands I designed, and stories I prepared.
Congo Jongo ( swamp, forest, athletic country girls, farmers, rivals, hand to hand; despots, enslaving women; thugs intimidating the weak and old; gung-fu training, gained, man stands up for what is right, stands up for the weak, gains so much strength, he terrifies everyone; the lion, who is feared, and walks alone ) Lurid Pre-Code horror element: scenes from the covers, suspense, depict implied outcomes, variations.
Witchfynder ( historical, reimagining scenes from media, any goth, halloween, imagery; the outrage of the Salem Witch trials – the revenge of the innocent: gung-fu rampages against the villains forces)
Umbreed ( Aliens, sci fi)
Zaydimar ( abused, former victim, becomes vigilant protector; using premise of classic story. Based on the character, and life experiences of an ex girlfriend)
Lurid art, literary stories.
The lurid Pre-code horror covers, can sell the art, but the stories can reach them, and keep them. My goal is to have both, and working toward having the various aspects developed, so that I can eventually produce these as efficiently as possible, for a wide audience. At present, I am developing the breadth of the lurid pre code horror scenes; which seems prudent, since it brings the funding; allowing me to develop the rest; while employed to some degree ( technically). Rather, than making up a mainstream vanilla project, for years, and releasing it to little or no response.*
*Which, believe it or not, had been the experience of some very diligent and talented artists I have met through Deviant art, that have published entire, completely inked issues, that took the better part of each year, for an 8 to 12 page episode; to receive not a single social media comment, despite hundreds of favorites, on his individual gallery images. Labors of love , that are unoffensive, and sensitive to the many taboos of mainstream internet sfw culture. No excessive nude women, hardly any female forms, original creatures, not overly wordy dialogue, straightforward plot, lush backgrounds, fight scenes, attitude, unique, cool look, lettering; looks like a professional game trailer for Blizzard ( Activision), World of Warcraft. Love craft inspired horror creatures, Todd Macfarlane inspired style.
I encountered deviant art, initially, from looking up nudity and gore images, a couple times a year, over the decades. Seeing thousands of excellent mainstream art, and not favoriting, commenting, or donating a dime. But when I saw a rare piece, that was a lurid pre code horror suspense scene, due to it’s rarity, and mainstream aspiring quality, I thought to myself, I ‘d be willing to pay $30 for just a single image, if it was continuing what was implied, to see the outcome.
This was the lurid pre code horror aspect, that enabled me to develop 5 of my creative non-fiction inspired IP’s for the past 2 years. It makes business sense, and in an industry as difficult to break into as comics are nowadays ( after the crash, in contrast with the explosion of comics during the 90’s), few are able to create their own comics the way they envision them, and get paid; or even when they publish at their own expense, to have any one look at them.
Lurid Pre-code horror, has an advantage, from the selling point, initially; but the responsibility, is still on the creator, to develop the content, create fresh imagery, put in the time; and develop the content that was the core of the story he wanted to convey, in the midst of all the work involved; with what time remains.
Fri Aug 21
I arranged to have an Ed Benes piece* , Brett Booth; and cels from Conan the Adventurer: of Mesmira and Jezmine ( sequence), pulled from ebay, ( kept for me).
*( best one I could find: early 2000’s: a full figure, detailed informed musculature)
In the past week, the She-ra cel from UK arrived, and I photographed it.
Been getting more key pieces done, to enable efficient studio work: a) nearly done detailing a 4 view character template ( which I can print copies, and use to save time, drawing costume variation ideas down) b) detailing some 11 x 17″ pieces, worth inking and coloring. c) working outdoor during the morning**, and detailing indoor in the evening d) plan, to make templates with multi facial expression variations; and then use CSP to “X” times number of variations, per physique, pose – with bkg , caption variations***.
*** ( ie, . if 20 faces x 5 figures = 100 images, that can be assembled in a day, as uncolored CSP file. If 3 physique proportion ( tall lean, muscular, , voluptuous smooth) 100 x 3 = 300 images. If 2 backgrounds = 600. If 3 variations of supporting cast = 1800. 3 gore detail variations = 3400. 10 main figure costume variations = 34,000. That’s a benefit of using software. I’ve done it before on Ms paint, even without knowing how to use raster layers; wanted to have better drawings, proportions, detail, variety of skills; before mass producing duplicate, combos, and relying on , and creating with software for the majority of a day )
*(WIP: work in progress).
** fresh air, gives the most energy, stamina, on a daily basis, over months, it adds up.
Set up a station, with laptop, and a desk surface (plywood) right above keyboard ( on concrete), for studying image references outdoors. Building boxes to get 300 or more comics, stored upright, and free up studio space.
Doing some outdoor work in direct sunlight, daily, getting alot of fresh ideas. With the time consuming, and concentration requiring auctions, scanning, storing, of original art, finished for the most part, for this season – and my energy back from the recent tropical storm marathon of moving, mowing, preparing ect,.. – I look forward to embellishing pieces, dialogue, eventually working on scripts that were submitted ( to vo actresses that got sick, or went on vacation), or nearly ready to submit ( such as the big 700 word Zaydimar order: full broadcast rights**)
** it’s already written entirely; but I wanted to edit, embellish – format as a screenplay-ish document I can work from to plan the visuals’ so that the dialogue complements it ideally; and includes dialogue, that links cross-over stories, interacts with other content; since it’s broadcast rights, and she is a professionally trained full-time actress with a great range of inflection, accents, and very exuberant, experienced, and probably in her late twenties, early thirties ).
Voice Actress Ten: Chose Thermidor II.
She interpreted my request, as a choice up to her between the two documents. It is interesting to me, that she chose ” Thermidor II”. On one hand, it has more explicit gore, and is far more lurid. The scenes described in the narration, when illustrated, would be considered “NSFW” to Patreon, and general mainstream*. On the other hand, it had the most interesting dialogue, and most characters ( closer to a screenplay than Thermidor I, which is like a story summary, with some monologues; but mostly an outline of a project idea)
It is nice to know this talented voice actress is on board for more in the “Thermidor ” series. The way I have gone about the writing, is to brainstorm, how to go about scripting dialogue to accompany the most lurid scenes I am planning to illustrate: across the brands I have designed; first. For the most part, I have covered that territory**. The area for variation, and increasing detail, is the art.
With the lurid/horror dialogue ( concepts) mostly created ( like a foundational accessory, to the straight writing of episodic storytelling, with repeat cast) the direction to go, that will actually accentuate the former, is to develop the latter ( vanilla writing, that is meaningful).
Doing the lurid /horror aspect of the writing, was perhaps the most challenging – like going alone, into a cave, and plumbing the depths. Coming back out of the dark cave, there is much more available to engage in, out in the sun, with a refreshing breeze, and friendly companions; and adventures.
So, the adventures, and characters, in the stories, have more tangible, adversaries, trials, and loss to overcome. In this way, ( like George Lucas) , the warmth of the positive is more deeply felt, emerging from the gritty villains, and significant consequences or threat from opponents.
As an artist, every detail, becomes the focal point, at some point – but the story, allows for many details; with a focal point that is paradigm of a protagonist, or circumstance, with relatable characters problem solving.
**With scripts that cover the basic phrases, inflections, ideal for accompanying the lurid art*** drafted, and read. I can present former actresses reads, along the same scripts, to present to as many actresses as I have the interest, funds and time to do so.
*** ( in visual novel, 2-d or 3-d video game dialogue, youtube, or other media broadcast – as flavor content)
* ( despite being tame, in comparison to some content, and comparable to 70’s Eerie magazine stories; which I have been seeing regularly; as I photo the interiors, each week, and throughout the months).
Interesting Implications: Female approval of the lurid pre-code horror story is bolstering, since it corroborates, that the content is not inherently misogynistic, or viewed soley as disparaging or exploitative toward one gender; and appreciated for its many aspects. A sign of approval, or interest in females, in a lurid pre code horror context, demonstrates a range of perception.
An etiology of the sexist double standard, in lurid pre-code horror art: with fear-mongering, and hate mongering activists, representing a transmogrification of art of historically subjective nature, using a straw-man argument, to label the depiction of females in anything but asexual, empowered manner, as exploitative, and threatening; resulting in call of removal of females from lurid pre -code horror scenes; and muting that aspect of the male id, for the peevish sensibilities of the few, most neurotic, or traumatized; applying it as standard modern, policy, for the whole; meanwhile, leaving the female id unrestricted; since men aren’t threatened by it.
Art creation comes from a neutral place of observation, and physical effort to transcribe what it seen by the eyes; with the ‘ability’ to, with just a stroke of the pencil, change the ‘imaginary world’; creating visions, like showing; what if,.. How would this look, if I changed, or combined this,…
Regardless of the subject matter, ,..for me at least, drawing always comes from an identity -less place, of viewing, as a spectator, or back seat driver, a speculative thought, idea; that comes out on paper – based on my physical ability to coordinate the pencil with my muscles.**. Like watching a movie, but making it up myself. Always feels like harmless entertainment; like playing instruments, singing, and writing.
I have some sense of how others experience it, when I buy vintage comics, watch movies, or play video games. This helps me to design content for specific applications; important if I want to make a living doing it.
** thus , advanced martial arts training of the past decade, have brought my drawing, concentration, stamina, ability to peaks (I discover, when I have balanced physical activity and rest). That’s why I am aspiring to the scope I describe ( for art and comics)- because I am physically aware that I can sit and draw faster and longer, with applied concentration in proportion to what I cultivated in the martial arts.
Ink, Color Phase:
The phase that will be most notable to viewers, is when I am inking and coloring*
* – to me, that will be the easiest and most physically rewarding, and artistically satisfying.
A Hypothetical Day in the Studio:
Getting up, choosing a template ( pose), then picking an expression ( template), and a character ( from a colored concept illus: costumes, additional characters), with a portrait (reference), and background ( illustration: or choosing from backgrounds: views) – the aforementioned, ( when it is developed) can be done in a minute, before I start.
Then, after an hour, I can have a 19 x 24 ‘ under drawing for an inking, painting or outline for drawing to shade.
After 2 hours, it’s significantly detailed. Then I can exercise outdoors, do chores, music, physical studio tasks,..for an hour.
Eat lunch, and for 3 hours in the studio, detail the piece. Then exercise.
After dinner, I detail another 3 hours, then work on script or audio; or post to website.
Next day, I can use software on the image ( color), or ink, or begin painting.
Thank you for making this possible, with your interest, generosity and participation. It has allowed me to do art as form of employment during the pandemic, for which I have immeasurable gratitude.
Take care! Have a great day.