I managed to stomach visiting the Convention Center. My intention was:
a. to deliver this sign and
b. to take pictures of my work
Well it was a mess. I couldn’t get at anything I painted and what was “finished” wasn’t connected.
So I succeeded in half of my agenda.
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Every year there are new problems to solve; some are solved in sketches but most are solved with paint directly on the scene. This is a process post explaining an example of the latter.
(nate’s in the way there)
This 11 foot tall piece of crap showed up in the garage one day and we were told it would be the center prop for scene 1. They couldn’t build the prop because the ceilings were too low (a common problem) so they just build a bunch of flats with tons of luan sticking out for later trimming.
This is the treatment I typically give to a thing I need to make up.. a dark messy color everywhere.
Trying to solve the drawing while Drew tells me my colors suck.
Drew managed to get some red in the studio (he wouldn’t let me use it otherwise) and I remembered the wacky tattoos on folks around the pacific islands. That’s when I knew what it should look like and I wanted to repaint all the previous heads.. no time tho.
He started to look a little like Mumra.. But so what, it was getting fun. Junior, (the client’s son) and I got to chatting about the bottom part of the prop and I mentioned sideways how cool it would be if there was a giant tongue. Somebody said “that’d be great”.
That’s enough encouragement for me.
There it is. Someone clearly left something on the steps but you get the idea.
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.
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.
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.
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.
I don’t know why I allow this unfinished shtuff up here, because it consists mostly of excuses.
Here is the top half of “Marketplace” scene one, Avenuers.
There are still concerns as to why an “arabian nights” looking theme reads as the supposed “Bollywood” theme that the Avenuers are attempting.
Have to redo the scene two/two.5 sketch that was previously posted. It is definitely better to iron out the details before going sixty feet wide.