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That update is looking really good. I really like how the shapes of the animals sort of blend into the background so that I don't notice them at first. Then when I do notice them, it's like "wow, where did that come from!"
The upper right does need to be toned down just a bit so that the stark white doesn't compete so much with the nice halo effect you are getting from the moon.
Can't wait to see your next piece.
As the ego shrinks, so the spirit expands.
For what I do, that's about the best compliment someone could give me.
I was going to hold off until tomorrow, but since we're on to page two
Last edited by Jasonwclark; October 21st, 2010 at 03:28 AM. Reason: voodoo
Childhood Artwork Continued
I took my first semester long art class in seventh grade, and then another one my Freshman year of highschool. The work from this period is mainly about experimenting with different mediums and methods. Assignments were more structured, and a little less personal, so I left most of them untitled. Around this same time, I also picked up the habit of giving my drawings to people outside my immediate family, so I'm sure some of the cooler stuff was handed out to friends or cute girls. The material that remains is bascially what I gave over to my Grandparents.
Last edited by Jasonwclark; August 30th, 2007 at 05:42 AM.
More "Childhood" Artwork
Durring this period I did a lot of 'hanging out' ... and even more 'going out.'
I'm sure the lapse in productivity was due, in no small part, to my getting a car and a girl (however briefly.) Subjects of interest included things like Alice, drug culture, and music from my parents generation. I think a lot of work was given away to friends, but I kept some of the drawings I made in math class. I also did some nice prisma color maps for US History, but only one survives. Durring this time I also had a brief resurgence of interest in acrylics, and decided to paint the walls of my old room.
Last edited by Jasonwclark; September 25th, 2007 at 05:27 PM.
Age 18-24 (Early Works Artchive):
This is the artwork from my senior Year of highschool (at Foothill junior college) and from my first couple years in San Diego. The stuff below pretty much fills the gap between my childhood artwork and the material at the begining of this thread. I spent more nights reading and writing term papers than I did drawing, but I did manage to get out a few images of interest.
I also included some maps/graphics that I made for an open source strategy game around this same time. The Great War, is a scenerio I created with one of my buddies 'over there' at TripleA. It uses a modified Axis and Allies ruleset adapted for World War 1. The art resources are original, with maps made in MSpaint and unit/flag graphics in Photoshop. I also authored the Pact of Steel varient (which includes Italy in 4th edition A&A) and made the clone map for A&A Pacific. The TripleA game engine is designed to work on any OS that runs java, and it can still be played for free online at:
Last edited by Jasonwclark; May 3rd, 2008 at 04:53 PM.
Experiments with Concept Art
And finally, here is some Fantasy/D&D style artwork that I made for various Neverwinter Nights projects. Nothing professional, but its probably as close as I've come to actually doing the concept art thing.
Right, I guess that just about wraps up the stoll down memory lane. Now I should probably get back to drawing the new stuff.
Thanks for everyone who took the time to check this out.
Last edited by Jasonwclark; January 4th, 2008 at 06:06 PM.
Works in Progress Update: First pictures with the new camera (Thanks Noni)
I finally got sick of paying Kinkos $40 a pop to scan my drawings (especially since they smudged the last one on me), so I picked up a camera for archiving purposes. I know almost nothing about Photography
Does anyone have any tips or tricks for archiving/photographing drawings? Maybe a good link to follow?
Last edited by Jasonwclark; October 21st, 2010 at 03:31 AM.
I spent a little time trying to answer my own questions with the search function, and chanced on that thread by Dos Santos. It had some very usefull tips about the archival photography thing, and a lot of other interesting info besides. Its worth checking out if you haven't already:
Also, here's a cleaner shot of the Limnos drawing I'm working on
Last edited by Jasonwclark; September 16th, 2010 at 05:27 PM.
Those last couple of faces are nice. Lots of personality in them. I think the first one could use just a bit more of a hint of a neck, though. The floating head is just a tiny bit disconcerting...lol
As the ego shrinks, so the spirit expands.
"For all its material advantages, the sedentary life has left us edgy, unfulfilled. Even after 400 generations in villages and cities, we haven't forgotten. The open road still softly calls, like a nearly forgotten song of childhood. We invest far-off places with a certain romance. This appeal, I suspect, has been meticulously crafted by natural selection as an essential element in our survival. Long summers, mild winters, rich harvests, plentiful game- none of them lasts forever. It is beyond our ability to predict the future. Catastrophic events have a way of sneaking up on us, of catching us unaware. Your own life, or your band's, or even your species' might be owed to a restless few- drawn, by a craving they can hardly articulate or understand, to undiscovered lands and new worlds."
Last edited by Jasonwclark; September 16th, 2010 at 05:29 PM.
Thanks Eponine, you just totally made my morning (or late afternoon if you reckon by the sun, instead of my ridiculous sleep schedule)
Yeah, I definitely dig the Nouveau and Jugendstil. Beardsley, EBJ, and Mucha are all gods. I also dig their precursors among the Pre-Raphaelites and other 19th century movements. Boulanger, Waterhouse, Rackham, and some of my favoritie symbolists, are hanging out in the right panel of that tryptic study; along with some faces you might recognize in the Night Mare's mane. I'm making a spot for Leighton, Alma-Tadema and some other turn of the century masters in the left panel. I love the long curves... vines, hair... all that jazz.
Its actually kind of funny that you bring up this period in (art) history. I actually stayed up all last night working on a new game map for that TripleA project. The working title is "Domination 1900" but I'm trying to come up with something with a little more impact. Its going to use a modified Axis and Allies ruleset, (simplified to play more like Risk) based on a roughly 1880-1911 set up. Most A&A games use a highly distorted world map which has always irritated me, so I tried to create a unique projection that would enlarge the European theater, while still preserving some semblence of geographical accuracy. This is the first game to use the new map projection, but I'm hoping to update 4th ed A&A as well. If you dig strategy games, and want to help design one, feel free to stop by the development page we can kick some ideas around.
Also, my mom just emailed me a prismacolor drawing she found rolled up in the garage. When I was about 15 I was going to enter it in that 'National Bird Stamp' competition they hold every few years... but then I missed the dealine, threw it in a tube, and forgot all about it. Its kind of cool looking though... I think I might have to finish it over the holidays
Last edited by Jasonwclark; October 25th, 2007 at 08:32 PM.
Sorry to hear about your rough night. I guess we all go through the "anger" drawing at some point.
Once I got so frustrated with an ink drawing I was doing on matte board that I took a knife to it and started just slicing away at the board. Oddly enough though, by the time I had finished, the new and quite bizarre shape of the piece had actually improved it! lol
Keep at it mon!
As the ego shrinks, so the spirit expands.
Who says Cartography isn't a fine art right?
I finally finished that game map I was working on... well almost finished at any rate. It uses an original projection I made which tries to strike a balance between the distrortions/abstractions of the Axis and Allies game board and real world geography. I tried to preserve some semblance of relative distance and scale, but many areas of the map are tweaked well beyond mercator to accomodate the gameplay. Main features of the A&A board are an enlarged Europe (and shinking of Africa), an englarged South Pacific/East Asia, and a dramatically reduced scale for the Americas. Other areas of the map, like central Asia and the oceans are also tweaked to accomodate these changes. My goal was to subdivide the territories as detailed as possible, so I could quickly remove the boarder lines to created games on different scales. It should cover everything from Classic A&A through the new Anniversay Edition, but right now I'm using it for my own pet project, Domination 1900.
The set up is anachronous but loosely based on the period of conflict spaning from the late 1880s to the early 1920s. Some territories may get axed, repositioned, or renamed, but it should pretty much end up looking like this. Now that the names are all in place (and my eye's are done bleeding) I can finally go to sleep.
(beware of possible spelling errors, I'm pretty out of it.)
Detail of Domination Map
*Edit update: 09-18-07
Now that my basic map projection is complete I'm also kicking around a bunch of other game ideas...
Colonial Era: 1600
This is an anachronous map designed to pit the major European Colonial powers against one another. The set up is intentionally loose, but basically the idea is to have the Spanish, Portuguese, Austrians and Turks in a state of slow decline, while the Dutch, English, French, and Russians are on the rise. Possible units might look something like this...
Land Units: Explorers (increased range), Colonist (defense), Soldiers (attack)
Naval Units: Exporers, Merchant Vessels (trade/resources?), Warships
I have Mexico and the Confederacy as minor powers in addition to the others. I went ahead and made Charleston the capital of the South, since Richmond and Washington are too close together to work. S. Carolina was the first to toll the bell of secession though, so I think it works well enough. Major powers for this period are Britain, France and Russia. Prussia in is on the rise, and the House of Savoy has moved to unite Italy (opposed by France, Spain, and Austria). The Ottomans are in a slightly stronger position but still in a state of decline. Japan has been opened to Western Trade, begining a period of rapid modernization.
Pearl/Barbarossa Opening: The Pacific is calm just before the storm, while Europe is engulfed in war. Vichy France and the other Axis allies are a seperate "attackable neutral" style player. Russia and Red China will be a seperate team, only nominally aligned with the Western Powers and Nationalist China. The idea is to have the two Allied blocks (West/Communist) too weak at the outset to fight one another and still ward off the Axis, but durring the endgame they may elect to confront one another...
For those marathon games that just don't want to end.
Midway/Stalingrad Opening: Japan is at the height of its power in the Pacific; the other Axis allies have either been absorbed by Germany, or are now treated as regular neutrals. The Germans have captured Tobruk and are driving against Egypt, while the American expeditionary force has landed in Morocco.
Domination: Red Dawn 1950-60s
Pre-Sino Soviet Split; Korea, Cuban Missile Crisis etc. Proxy powers represent US/Soviet clients, satelites, and military dependencies. The French Commonwealth and other the other Nato Allies could either be neutral style, or playable depending on the needs of the set up.
Domination: Red Dawn 1970-80s
From Angola, to Iran Contra and Nicaragua. For both the Red Dawn Scenerios, we basically we have the 5 main members of the Security Council, plus the US/Soviet proxies... which I'm not yet sure how we should handle. I'd also like to come up with a creative way to deal with Nukes.
We have a lot of flexibility here, but I'd like to do something with a cool backstory. Basically this map should reflect the resource wars, and challenges to Anglo-America hegemony, which loom heavy on the "future shock" horizon.
Last edited by Jasonwclark; October 20th, 2008 at 01:04 AM.
I haven't figured out how I want to finish this one, or what I should call it... but I like the way its coming along, so I thought I'd post my progress. Its my largest figure drawing to date 19"x24"
Last edited by Jasonwclark; February 16th, 2008 at 08:23 PM.
Today's study, Mistletoe after Mucha.
This rough sketch took a ridiculously long time to draw (and its still nowhere near as glorious as it should be.) Anyone who doesn't respect the decorative arts should sit down and try to follow my man Alphonse... its a lot harder than you might think. After this, I'm afraid to even attempt his silverware designs.
Last edited by Jasonwclark; October 6th, 2007 at 05:19 AM.
hey Jason, I haven't been able to keep up with this thread to the extent that I would like, but i wanted to say that the dedication that you show is amazing! Plus, I really like your designs and your rendering, to me it feels like you've found a style that fits your character and that you really enjoy and I really respect that.
The only suggestion I can make is in regards to portraits....in most of these the edges seem almost uniformly hard, it would give your drawing a lot more interest if you varied the edge quality...also, some features are a little off, so doing some more construction would be beneficial too. But really great work, the Bridgman studies are looking good too!
The one with the golden ratio is my favorite, though they all have impact. Lots of detail. Makes me despair just thinking of all the work that went into it. I wish I had your eye for perspective.
I liked it with just the two figures and not the swan/medusa addition...
Have you seen www.abrahadabra.com ?
Thanks GriNGoLoCo and LadyHydralisk
I haven't come across that website before, but I'm certainly down with the Alchemists, and I'm interested in other Hermetic movements as well, so I'll be sure check it out. A few years back I spent a good deal of time acquainting myself with Jung's work, and that of Hans Dieter Betz, so I imagine you're in good company.
Sorry for the slight lull in activity there. Fires, and oil spills, and a trip to Idaho have kept me pretty well preoccupied these past couple weeks. I added a few small bits and pieces to the larger drawings I've been working on, but nothing major. I did finally finish that map though. Its not everything I'd like it to be (in a perfect project), but I have to work within the limitations of the current game engine. All things considered, I think it should work out well. I have a few basic scenarios to cover things from about the 17th century to the 21st, with some extra attention paid to the World Wars and the Cold War between the West and Soviet Russia. Its going to be a simple strategy game modeled on Risk, Stratego, Axis and Allies etc. Basically I wanted to make as a kind of tool to teach historical geography, and as an aid to memorization. Some names will need revision for the different timelines, but its pretty much finished. The actual game will be hosted at TripleA in a few months.
Also, a quick sketch from girlfriend's parents house, in the frozen northwest.
-Idaho: 4 Dog Night
Take it easy all. See you when I get back
Last edited by Jasonwclark; February 20th, 2009 at 03:16 AM.
very impressive! top notch stuff
Emily G’s sketchbook inspired me to take on a more focused challenge. I also wanted to take a stab at those soft edges that Ramon was talking about, so here's a study after Rockwell...
"For my Cousin Mary Amy" Charcoal 1937
I think I captured the likeness reasonably well, but something in the expression is coming across a bit different. I don't know... in mine she seems a little less angry and a little more depressed somehow, like she's giving the 100 yard stare. I sort of dig it though, so I think I'm just going to leave the face as is. Looking at things now, I'm noticing a lot of other inaccuracies too, but on the whole I'm pretty pleased with the way it turned out. Its still a little rough and needs darkening, but my girlfriend likes it at least, so that's always a plus.
I'm not very experienced with charcoals, so I went with a pencil study instead (B, HB), 9"x12". Probably not the most solid approach, but I still feel like I learned a good deal.
Last edited by Jasonwclark; February 15th, 2008 at 08:48 PM.
You have a real passion for texture and form of all kinds. there is an elemental vitality here, a desire for understanding the world. Sometimes I think art classes should start not with drawing still lifes and models but water, fire, rocks, clouds, stars, and then work up through more complex organisms...
You should consider trying more work in India ink, ballpoint pen or those little felt-tips (my first choice for sketching/drawing is ballpoint for consistency and instant availability, also India ink for swift power and wonderful fluidity, the felt tips are fun but they wear down quickly and cost too much). but your drawings already have this deep core of incredible dedication and thoughtfullness, and that's the essential part, I think, what some people speak of when they say some are born to be artists and others not. you can learn anything but imagination.
Your drawing has already advanced from the first posts in this thread. you're bringing in stronger contrasts and the bridgman studies are excellent, keep doing that from any anatomy book you can get your hands on until you can draw figures inside out and upside down from imagination to your satisfaction... the way I approach drawing now is I'm constantly trying to build up this inner trove of forms and textures and organisms and know them well enough that I can spill them out again at will and in any permutation: water, ice, fire, clouds, sharks, salmon, suns, ships,....everything.
How do you hold the pencil? if you don't already, try holding it like a violin bow, drawing with your whole wrist arm and shoulder and not hardly moving your fingers. I read about this in an art book years ago and at first scoffed and refused but later decided to try it. It was a hard at first but after a few hours and days I got used to it, and man it really frees up the flow. it forced me to draw quicker, bigger, more continously. I don't use it all the time but the changes in my drawing habits have stuck and I think I'm better off for it.
the one major thing holding you back is lack of color. I understand well, this has troubled me for years and I am now starting to turn it around. I like gouache and watercolors right now, they're quick, portable, no nasty chemicals, they go well in the sketchbook and with waterproof inks like ballpoint and others as well as pencil. don't worry about jumping into any huge projects, just play around and sketch with the medium and the colors, it gets much easier and more familiar with a little time.
I enjoyed going through your early works, most people don't bother or are too embarassed to show theirs. I too have a deep love of Tolkien. In fact I never really had any choice in it, I grew up with the Hobbit and the Lord of the Rings the way some people grow up with the Bible. I like your old fantasy drawings, lots of character and narrative.
I like the latest drawing (with the eagles) there's a lot more variety of depth and dynamic tones than many earlier ones. were those eagles, by any chance from Homer (in Alaska)?
and of course Melancolia... many's the imaginary conversation I've held with Albrecht Durer on long plane flights...
Your work reminds me of Abdul Mati Klarwein and Hieronymous Bosch...
btw, ever go to Burning Man? I've been twice thus far and had great times, your work reminds me of people I met there.
ok I hope these words help you and I will be back for more...
Peace and Luck
Last edited by Maizani; January 16th, 2008 at 05:57 PM.
That might be one of the nicest things anyone's ever said about my work.
I swear the more I see of ConceptArt, the more I like it. At first I was a little apprehensive about putting myself out there, but everyone's responses have been so encouraging and insightful, now I just wish I'd found out about CA years ago.
Sitka Eagles actually, but I hear Homer is nice as well.were those eagles, by any chance from Homer
Always good to meet another Tolkien fan. The Silmarillion was the first book I ever really read and I think it might be the greatest work of mythography ever penned. I almost dropped out of high school when I was 17, but I read that book over the summer and it changed my attitude towards education completely. I decided instead to go straight into Junior college and start taking courses that interested me. I discovered night classes (which are always the best) and my favorite subject at the time was Astronomy and conceptual Physics under Andrew Fraknoi. Your Fish Bowl drawing reminded me of it, because he always kicked off the semester with an intergalactic slide show, blasting 'Shine On' over the auditorium speakers. I dig everything in that sketchbook of yours, especially the titles. Culture Warrior cracked me up - I just spent the last hour or so checking them out and I love the ballpoints, the museum studies, the maps etc. Anything that makes me wish I had a magnifying glass is solid gold. I’ve never been to the Burning Man, but I think it sounds interesting, so I'm sure I'll make it out there sooner or later. Also, thanks for introducing me to Klarwein. I'd never heard of him before, but I just searched his name, and I like his work.
I tend to use a writers grip for most of it, but I'll sometimes rock it palm down (with the index on top for more control.) The underhanded grip gives me problems though. I think I might need to work larger, or draw in a more upright position, to start making better use of it. My drawing posture right now is terrible, and I'll probably end up with a mighty Mr. Burns hump later in life, if I don't start working to correct it soon.How do you hold the pencil?
Sometimes I feel like I'm approaching things in a completely backwards sort of way, but I've decided to keep at it all the same. I really would like to start working in color though; once my triptych study is finished, I'm going to start exploring the issue in earnest. For now, I guess what I'm trying to do is just supply the broad strokes and use the pencil to demonstrate the sort of things I'd like to paint eventually. Then hopefully someone will see them and decide that I'm worth training. I just started a few new pieces that should be pretty cool, and I think some of my older ones should be presentable (with a little polishing), but I've decided for now to not worry about it too much, and just let Bridgman have his way with me. Not a lot to share at the moment, but here's a study for something else I'm working on.
Last edited by Jasonwclark; October 12th, 2010 at 08:38 PM.