Scene 3 started with a night time sort of thing; I had just come back from Providence and Barnaby Evans’ Water Fire was still stuck in my head.
The client decided he didn’t want teepees or a fire in Scene 3.
In an effort to save time in painting I tried to keep the painting as simple as possible. The Finnigan “Sketch” they gave me for ideas was basically just rocks, so I figured that was what the client wanted.
I went a little deeper, trying to figure out what color things could be.
The client didn’t like the monolith in the middle. Drew erased it and plopped something he stole from the internet in the middle.
After I finished cleaning up my vomit, I gave in, but Drew had found something slightly better.
I quickly cut out his transparency, cut out the monolith and taped in the new image.
Then we projected.
It took a little while for us to realize we had projected backwards, oh well.
These are quite a bit after projecting. The projection is just to get the basic forms and I prefer to work from a drawn black line projected image before painting.
We were able to work the whole top half nearly together, but it would seem 5 feet panels were plopped on either side just to make the scene bigger.
That’s me again probably not thinking about the extra 10′x20′ I have to make up.
…I tried to find the pictures of us painting rocks, but it is clear that I did not want to remember therefor I will have to spare you the irritance(that has to be a word) of seeing grown men painting what appears to be nothing but rocks… so.. to the connected image at the convention center.
And a close up.
From the category archives:
Sketch from my baby sketchbook for waterfall scene (130mm x60mm)
Scene one started as a sketch/doodle then colored (above).
Fitz wanted a buffalo in the mountains so he got 2. He also wanted a ten foot wide water fall, so things were adjusted to accommodate a straight down water fall 10′ wide.
He also got a rainbow (it got cut)
Then we projected my sketch in 10′x20′ sections:
Right after projection.
scene one, top right a little after “projection”.
top parts “finished”
bottom part. The water fall was painted separately and “connected” at the convention center:
That’s a nasty glare, but you can see everything is connected.
All of scene 1 with the props.
And go to PHL17.com for the video.
The pencil sketch for scene one Satin Slipper(from my baby moleskine)
So, these guys (our second club) gave us a whole lot less time. Drew and I brought on Sean and Nate to get it all done. I wanted so badly to get into the details for this theme, but was blocked repeatedly by logistics. (And by that I mean nothing was built, really, until Christmas).
Above is an early sketch of scene 1. I was never given the go-ahead to even bother coloring this image.
When it came time to paint my design had to be changed because the client wanted to include dimensional guys glued to the backdrop. They had them carved by some magic machine somewhere, but it meant that the background wouldn’t get any real dimension.
The day before Christmas Eve we painted this backdrop. Those guys glued to the front damage the “space” we painted, but it’s fine. Probably the worst picture of the lot though.
This is a screen shot from a youtube video, shot with a cam corder of the Satin slipper performing on a TV, PHL17.
And the last picture I have of Slipper’s work (we couldn’t get to anything to take pictures of it). My silly little phone takes ridiculous pictures, but these are in here just to show that we have to turn flats into objects, and more often then not, piles of trash into props. It’s fun work, too bad mummer season is over.
And the unofficial video (because I can’t get PHL17′s to work):
Scene one (21′x50′) with all the props.
Scene 1 totem poles. (The “trees” spin to become totem poles)
Scene 3 (21′x50′).
Part of scene 2.
The middle size drums. Side design started by Sean O’Neil.
Big drum (8′x16′) was supposed to be Fitz’s drum thus the color scheme.
The little drums with dream catcher flat (8′x12′x 4ish’). A little perspective magic making that half drum all the way round… I know, your mind is blown.
Scene 1 retouched.
And here’s a few of scene 3 on it’s way. (It’s a redesign with a D’Leezee acquired totem pole in the middle)
That’s what replaced my monolith from the previous design. I have opinions and will spare you the reader from having to read them.
The paintings are coming along, and today we are working with Sean O’Neil.
Not River Phoenix in front of the Dragonfly or the city that I don’t ever plan on going to.. This post is a celebration of a new computer. The old iMac is dead, sadly, and it’ll be a minute before things are normalized, but this, my first posting in several months, is the first step.
That’s Satin Slipper and the incomplete dragon during practice.
Interior scene for the Avenuers (big finish).
I learned a lot with this image. We spent a solid 2 weeks with extra labor on this one. It barely looks it. My favorite is the india ink sign.. and the guy on the human powered thingiedoo.
There’s 127 guys that I painted. Steve painted the bodies for 8 of em and Drew obsessed over the terrain. Too much detail for a “20 yard stare”.
The Taj M’hawl. I wish I could say this just flew together, but I struggled with the colors in the Taj for a while (it’s white of course). Drew painted the sky. He’s really good at skies (even though I disapprove of his color choices). We fought about the shape of the bushes. Nobody saw them. There was a huge prop in front of this scene. You can’t even see William Penn on top of the main dome.
I didn’t get pictures of anything. Drew took these but he missed a couple of things. Oh well.
This year I plan on recording my process better.
It sure is nice having a new computer.
The fella at the computer repair place said that my computer is dead. That is why I haven’t posted anything in a month. My room-mate was nice enough to let me use hers, but I can’t make a habit of this, so… It looks like this blog is going on a temporary hiatus. That is until I get a new computer.
More time for the mummers then.