Thursday, April 26, 2018
I haven't visited the prompt pages of "642" recently, so I took a draw. The prompt for this one was "a kebab" and you know I love my Persian food. But this kebab is made of roast planets, suitable for Marvel Comics' planet-eating cosmic giant, Galactus. I believe in Pluto but just for the scientific types I'm carefully labeling it "Dwarf Planet." Sizes of the planets are not to true scale. You can see Mars, Earth, Venus, and Mercury on a smaller kebab skewer. As the Persians say, "Nooshi jaan" or "Bon Appetit."
Black tech pen on sketchbook 642 page, 3 1/2" x 9", April 25, 2018.
Wednesday, April 25, 2018
Alexandria, Egypt in later Roman imperial times was not a quiet or safe city. The streets were filled with people of all ethnicities and classes, with crimes everywhere. Christian and Jewish and Pagan religious factions fought it out in the street, often with the most primitive weapons of sticks, clubs, stones, and roof tiles. Competing bishops commanded gangs of monks to protect them, and the monks were not above joining in the melee. Here we see a bishop, Theophilus, commanding his militia of monks who stand ready to fight those who do not agree with their version of Christ's teachings.
Sepia ink with watercolor and Photoshop touch up, 5 1/2" x 9", 1974. Illustration from my Roman historical fantasy. Click for larger view.
Tuesday, April 24, 2018
This is one of the latest ones I did in the Gregg Press collector's item edition of Darkover books. The tale it illustrates is a familiar one: human re-colonizers arrive to re-settle Darkover for themselves, despite the resistance of native sentient species. This one spends a lot of time on the chieri, the seven-foot-tall hermaphroditic natives who can interbreed with humans and produce psychically gifted children. The, uh, climax of the book involves a mass orgy of humans and chieri, thus re-vitalizing the genetic heritage of both species. You can see the ecstatic chieri at the top of the pile.
The author Marion liked this picture so much that she reserved it for herself in the art show and took it home. I wonder what happened to all that art that MZB either bought for herself or received as gifts. I think they gave some pieces back to me and they are stashed in a closet with all the fan zines I illustrated.
Ink and photostat, 7" x 10", April 1979. Click for chieri view.
Monday, April 23, 2018
Markers, colored pencil, Celebrity Photoshop, 8" x 4", April 23, 2018.
Sunday, April 22, 2018
The colors at dawn a week or so ago were unusually intense. The low-rising sun shone on the budding trees, turning them glowing orange, with brilliant purple clouds above. The effect only lasted a minute or two, as the clouds passed in front of the sun and extinguished the fiery colors. This study was done from memory but I did see the scene as I retired to my owl's den to hide.
Colored pencils, markers, and ink on sketchbook page, finished in Photoshop, about 3 1/2" x 3 1/2", April 22, 2018.
Saturday, April 21, 2018
Every week, usually on Friday, I meet with three other ladies of craft to sip coffee and talk about projects we are doing. I don't do anything three-dimensional so I refer to the sketchbook for an urban sketch. We alternate between independent coffee shops, except for Peet's which is a chain but it's acceptable anyway. This Friday we gathered (minus one Lady who was away on a business trip) at the hipster haven "Caffe Amouri," a college-style snackery and beanery in Vienna, Virginia. My drawing for today shows what was on the coffee table that afternoon. At these meetings we don't have to think or talk about current events or politics. We are there to be creative and share it.
Sepia brown tech pen on sketchbook page with Photoshop shading and alterations, 5" x 5 1/2", April 20, 2018.
Friday, April 20, 2018
On my ways back and forth between the DC area and the Boston area I used to stop off in a "sketchy" motel in central New Jersey called the "Red Carpet Inn." This noisy, shabby place was near the Hightstown Ballroom I showed you earlier. There was a very good diner down the street from it, but the best view was in the rooms I stayed in. The rooms were enriched with prints of what looked either like the San Simeon Hearst Palace in California, or more likely a Jersey-ite's view of Heaven. This Paradise would arise from an imagination of Mediterranean heritage, with decorative urns and terraces. Here is a copy of one of these prints, showing urns, angelic Italian landscaping, and a gravity-defying gazebo on a winding, rail-less staircase. In Heaven there is no gravity so you don't have to worry about falling off.
Sepia brown tech pen on sketchbook page, 3" x 6", June 2002.