Dimensional Illustration: Mote Warrior

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Dimensional Illustration; Mote Warrior

Dimensional illustration was a niche specialty that saw most of its popularity in the ’80s and ’90s. The term referred to sculptural work that was photographed and used as illustration in lieu of flat work and it did well enough to warrant its own annual awards presentation (I won a Bronze Medal in 1993 for an interior I did for Amazing Stories).

I did several dimensional pieces for my friend Charlie Ryan at Aboriginal Science Fiction but the overwhelming influence of computer-generated imagery smothered the use of “real” dimensional work.

This is how I imagined the Mote Warriors from the SF classic The Mote in God’s Eye; the environment measures 16″ X 24″ X 8″ and is built of wood, Bondo, plastic, paper and paint. The figure is made of Super Scuply and Pro-Mat.

Photography by Roy Buckener of Kennesaw Creative.

From the collection of Jeff Barnes.

Ornithopter

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Ornithopter

16″ X 24″ Acrylic on Masonite. This got very little exposure. I did it in late 1993/early 1994 right as I was going into my “Trap-jaw” palette phase.

I had read Dune several times since discovering the book in 1969 but had yet to find an ornithopter that I liked… so I came up with my own. Using chartreuse as the Atreides green house color might be pushing things a bit, but not nearly so much what I did with one of the moons. According to the book there was a “mouse in the moon” instead of a “man in the moon”; if you check carefully you can find a Mickey silhouette in one of them.

I only had the painting for a year–a good friend took it as down payment on the metallic blue “waterboxer” VW Vanagon that we drove the wheels off in the late 1990s….

Creative Curmudgeon Commentary 3: No Golden Tickets.

 I’ve been teaching since 1988 and during that time I have seen an unfortunate trend growing – the idea of the “golden ticket”. Other than being a major plot point in the sadly misunderstood Arnold Schwarzenegger 1993 action flick ‘The Last Action Hero” a “Golden Ticket” is something – a tool or qualification that will inexplicably grant you incredible success by merely being in your possession. Aladdin’s Lamp. Green Lantern’s ring. An airbrush. A Waccum tablet.

 Or a degree.

 It’s sad because students pass through my classes now with absolutely no desire to actually learn anything. They seem to be there solely to pass the class with as little work and as high a grade as possible in order to check off a box on the way to a degree which they assume automatically qualifies and entitles them to an extremely well-paying job. I can understand being pragmatic about school but I still think it’s sad – they miss so much during school and crash so hard when their entry-level job does not come with a corner office and a six figure salary.

 I worked my way through undergraduate work before there were Pell grants and it took me twelve semesters to earn a Bachelors of Arts (BA) degree in April of 1979. Not many people on either side of my family had earned college degrees, but I felt bad because it was getting a BA instead of a BFA – a bachelor of fine arts that was a bit more specialized and a notch up in status. Unfortunately there were a number of my fellow students and faculty members that made sure I knew the difference. I mean really, really really made sure that there was no question in my mind that a simple BA was just barely above “wash-out”  

 There wasn’t much I could have done differently:

  • I was attending schools located 3000 miles away from my home and support system.
  • I attended three different schools,
  • I made a drastic change in my major (pre-law to art) and then changed my area of emphasis within my major.
  • I was extensively involved with ROTC
  • I took a two year break right half-way through and also went to school part time for three other semesters as well.  
  • I was married for the last two years of school
  • My summers were not available for internships – I worked as a roustabout in an oil field.

 My insecurities were eased a year later when I was working at The U.S. Army Aviation Digest. The officer in charge at TSC (Training Support Command) had seen my work, liked it and invited me down for an afternoon to look around his facility.  This was long before computers or PowerPoints so instructors used slides to accompany lectures – and the slides were produced by a stable full of civilian illustrators at TSC.

  Please excuse the horrible pun but the visit was an illuminating experience for me.  I looked through the building I noticed that there was a common decorating motif in all the artists’ cubicles. Hanging on the walls would be:

  • Sketches and reference material for their current projects
  • An outside “signature piece” –something done outside of work that the artist felt represented their talents better than the little pot-boiler lecture slides they were doing for TSC
  • The artist’s framed diploma.

I had to bite my lip to keep from laughing. While close to 100% of the framed diplomas were for BFA degrees, 75% of the artists working in those cubicles were “not-very-good” artists. I won’t say bad – because there were a couple of nicely rendered spots in some of the slide illustrations that people were working on that day, but most of the work there was several levels below what I had been led to expect out of someone holding a BFA degree.

It was my first lesson about golden tickets…

…but you know the door often swings both ways. In our last episode of CCC I talked about not chasing clients and how there are some people who will lead you on for years…and as I inferred this has happened to me. In my case the person in question also suggested that I go back to school and take some figure-drawing lessons. Why the nerve! I was a successful freelance illustrator with an appropriate level of awards and recognition for the stage I was at. I judged the comment to be another one of those Manhattan thumb-to-nose gestures given to”flyover people” and moved on with my career without that client.

…but a decade later the issue came up again, though the second time it was me talking to me.  As I was closing in on 50 I had to admit that my figure drawing needed improving.   I had plenty of tricks to help me get by: I used projectors, I’d ask Lori to “edit” all my faces…I even went so far as to downplay the detail and finish on hardware pieces so those areas wouldn’t overpower my figures – but the fact remained that I wanted to be one of those guys who could sit down and just knock something great out my sketchbook in fifteen minutes

So I sent myself back to school. No, I didn’t take classes, but I set up a figure drawing program to build my skills. For almost ten years I studied, maintained a special reference binder, and drew. Not just lower-case “la-dee-dah” drawing – I DREW!  In addition to any other project I had going on at the time I worked in my sketchbook at least twice a week – sometimes three times – and in the end it paid off as you can see below.

So, again – there are no “golden tickets” in this business. I may joke and tell people that “illustration is all a bunch of cheap tricks – and they all work” but even with the cheap tricks you have to push yourself. On his death bed Michelangelo Buonarroti kept saying “I have so much yet to learn” and he was in his late 80s when he cleaned his brushes for the last time. You have to rid yourself of the idea that there will be a time when you can just “punch a ticket” or coast –

….and if that is too hard to do then I would recommend AFLAC and their great training program.

drawing progress