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Thread: Terrifel sketches, quite a lot really.

  1. #51
    For whom nothing is written. Oliveloaf's avatar
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    Quote Originally posted by terrifel View post
    African serval.

    You'd have my daughter by the heart with this one.
    "I won't kill for money, and I won't marry for it. Other than that, I'm open to just about anything."

    -Jim Rockford

  2. #52
    Elephant terrifel's avatar
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    SqueeeaaaEEEAAAeeeaaaEEEAAAeeeaaak!


  3. #53
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    "By this time, my lungs were aching for cheese."


  4. #54
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    Front cover logo design for this year's travel-themed convention schedule.


  5. #55
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    Back cover pamphlet illustration. I was trying to suggest both a behavioral maze and a compass rose.


  6. #56
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    The High Priest of the Temple of Dagon, and his little friend Nautie the nautilus.


  7. #57
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    I want to have nightmares tonight about that fish guy.
    So now they are just dirt-covered English people in fur pelts with credit cards.

  8. #58
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    African white-necked raven.


  9. #59
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    As one might expect, the demons of Tartarus are especially susceptible to gingivitis.


  10. #60
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    A graphic depiction of migraine headache.


  11. #61
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    Quote Originally posted by terrifel View post
    A graphic depiction of migraine headache.

    Yup. That's a migraine.
    So now they are just dirt-covered English people in fur pelts with credit cards.

  12. #62
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    Your brain is a scary, scary place, terrifel.

  13. #63
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    Just hanging out, you know? Being robots, planning world domination; the usual.


  14. #64
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    Our trained staff is happy to assist you.


  15. #65
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    The joke here is that this is a highly inaccurate summary of Harlan Ellison's Star Trek screenplay, "The City on the Edge of Forever," and he is sensitive about the matter.

    Actually this cartoon tells you as much about Mike as about Harlan Ellison. Mike is a character.

  16. #66
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    Keep on trucking, little guy.


  17. #67
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    An old art class project. We were supposed to design a business card. Ultimately, neither I nor the professor could say for certain what sort of business my card design was likely to attract. I can only guess that I had been pretty depressed that week.


  18. #68
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    That design would be perfect for somebody who makes Cthulhu mythos inspired jewelry.

  19. #69
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    Arrr! Yo ho ho! Um... squeak.


  20. #70
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    It is generally advisable to avoid spilling your Pinot grigio all over the pentagram.


  21. #71
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    An associate of mine asked me to draw a picture of Unc' Billy Possum, from Thornton W. Burgess' series of children's books. I think I've got a copy of the final color version kicking around somewhere, but have no idea where it is. Anyway, take my word for it: he is possum-colored.


  22. #72
    like Gandalf in a way Nrblex's avatar
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    Holy shit, terrifel. I had no idea how talented you were. About how long does it take you to finish a drawing like this, since you said you didn't usually finish?

  23. #73
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    Quote Originally posted by Nrblex View post
    Holy shit, terrifel. I had no idea how talented you were. About how long does it take you to finish a drawing like this, since you said you didn't usually finish?
    Ahoy Nrblex! Good to see you nrblexing around.

    I find your question difficult to answer meaningfully. Depending on the impetus and available resources, finishing a drawing might take anywhere from a matter of hours to many, many years. In principle, any of my sketches could hypothetically become finished drawings at some unspecified point in the future. It's possible, anyway.

    In general though, carrying a drawing through to completion depends almost entirely on whether an external agency is keeping me artificially motivated through guilt or judicious threats. (As a psychic vampire, I exist in a natural state of total inertia and must rely on others to supply the energy that keeps my carcass moving in a crude semblance of life.)

    For example, you may notice that a large proportion of the above drawings were done for work; this is because I cannot avoid these people and still get paid. Also, they pay for colored pencils and paper, so I really have no excuse not to finish their drawings when I am not occupied in other tasks like lifting pigs.

  24. #74
    A Dude Peeta Mellark's avatar
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    So I still love that little frog of yours, terrifel. Could I use him for my avatar here?

  25. #75
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    Quote Originally posted by Peeta Mellark View post
    So I still love that little frog of yours, terrifel. Could I use him for my avatar here?
    If you like, by all means feel free. I just sort of scanned and cropped it at random though. Is there anything I ought to do in order to make it more usefully avatarable for you? I seem to recall that they require a certain size or something?

    I think the hedgehog is plenty cute though.

  26. #76
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    Quote Originally posted by terrifel View post
    Quote Originally posted by Peeta Mellark View post
    So I still love that little frog of yours, terrifel. Could I use him for my avatar here?
    If you like, by all means feel free. I just sort of scanned and cropped it at random though. Is there anything I ought to do in order to make it more usefully avatarable for you? I seem to recall that they require a certain size or something?

    I think the hedgehog is plenty cute though.
    I can just resize it myself and it'll be perfect. I'm fond of my hedgehog, but that frog just makes me smile every time I see it. I really love how that one turned out.

  27. #77
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    Thank you! Happy to be of service.

    Edit: Just saw it now as I posted! That was fast work. Lookin' sharp!
    Last edited by terrifel; 12 Oct 2010 at 02:49 PM.

  28. #78
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    How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful!--Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips.

    --Mary Shelley, Frankenstein



    This is my take on the Frankenstein monster. The book doesn't actually go into details about how the creature was constructed. I always thought the traditional 'stitched-together' approach didn't really hold up under close examination. Logically, if you're trying to prove that you can create life from dead matter, why not just revive a single corpse and avoid all that tedious mixing and matching? On the other hand, if you're trying to build a human being from scratch, then using pre-existing parts can only undercut the point of the exercise. And how many human body parts are really going to be sized appropriately for an eight-foot creature anyway?

    My thought is that the creature might have been assembled at the cellular level, using a wire framework suspended within an electrified nutrient bath. A specially prepared serum containing human cellular material would be introduced into the bath, and the cells would be guided by the electric fields to grow around the framework, sort of like coral on an artificial reef. (This would account for the little bolts which all Frankenstein monsters need to have: these are the terminals of the wire framework, which are designed to be removed and heal over a short time after the creature is animated.)

    When Mary Shelley wrote Frankenstein, the classical artistic ideal of male beauty was considered to be the Apollo Belvedere, so I figure that Frankenstein would naturally have used it as a model. As it happens, the Apollo Belvedere's facial proportions are subtly exaggerated beyond the normal range of human skull measurements, particularly a broader and more prominent forehead, which I have also tried to suggest in the above sketch.

  29. #79
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    Quote Originally posted by terrifel View post
    This is my take on the Frankenstein monster. The book doesn't actually go into details about how the creature was constructed. I always thought the traditional 'stitched-together' approach didn't really hold up under close examination. Logically, if you're trying to prove that you can create life from dead matter, why not just revive a single corpse and avoid all that tedious mixing and matching? On the other hand, if you're trying to build a human being from scratch, then using pre-existing parts can only undercut the point of the exercise. And how many human body parts are really going to be sized appropriately for an eight-foot creature anyway?

    My thought is that the creature might have been assembled at the cellular level, using a wire framework suspended within an electrified nutrient bath. A specially prepared serum containing human cellular material would be introduced into the bath, and the cells would be guided by the electric fields to grow around the framework, sort of like coral on an artificial reef. (This would account for the little bolts which all Frankenstein monsters need to have: these are the terminals of the wire framework, which are designed to be removed and heal over a short time after the creature is animated.)

    When Mary Shelley wrote Frankenstein, the classical artistic ideal of male beauty was considered to be the Apollo Belvedere, so I figure that Frankenstein would naturally have used it as a model. As it happens, the Apollo Belvedere's facial proportions are subtly exaggerated beyond the normal range of human skull measurements, particularly a broader and more prominent forehead, which I have also tried to suggest in the above sketch.
    I cannot even express how awesome this is. I love your take on the monster.
    So now they are just dirt-covered English people in fur pelts with credit cards.

  30. #80
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    "The Wizard of Oz" is one of those stories that probably shouldn't be approached with a strictly literal mindset, but I seem to do these things anyway. This is my take on the Tin Woodman:



    I think W.W. Denslow's illustrations are classic and doubt they will ever be improved upon. Still, something always bugged me about the fact that the Tin Woodman had a water boiler for a torso.

    Now, on the one hand, if you're a tinker trying to save the life of a hapless woodcutter, and you are forced to replace his entire torso with some sort of magical substitute, I realize that you may feel the need to work as quickly as possible with whatever materials are at hand. If that means replacing his vital organs with random crap yanked off your backyard distillery, then so be it. In the book, the Tin Woodman is presented as a fairly uncomplicated guy, not inclined to worry overmuch just because his resurrected carcass happened to be made out of household appliances.

    On the other hand, once it becomes apparent that any portion of his body can be swapped out without affecting the whole, it stands to reason that the Woodman might want to shop around for a slightly more dignified anatomy. At some point even the least vain of us would surely start to ponder alternatives to enduring an immortal existence with an ass shaped like a beer can.

    The deal with the Tin Woodman is that his body is made up entirely of prosthetics. So there really seems to be no reason why he couldn't continue to upgrade himself as the mood struck him.

  31. #81
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    Here's a close-up view of the Woodman:



    I was trying to give him a more naturalistic physiognomy, while at the same time trying to work around the frankly unsettling "ventriloquist dummy" effect that an articulated jaw would seem to demand. My compromise solution is to have the mouth opened slightly in a neutral expression, and the lower lip/jaw action working from the inside. So he can't really open his mouth too wide, but as he doesn't need to eat this shouldn't present too much of a problem.

  32. #82
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    It's been a long time since I read that book. Had there been any flesh on him in the end, or did he end up losing every last bit of it?
    So now they are just dirt-covered English people in fur pelts with credit cards.

  33. #83
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    Quote Originally posted by Zuul View post
    It's been a long time since I read that book. Had there been any flesh on him in the end, or did he end up losing every last bit of it?
    Yes, the paradox of the Tin Woodman is that, as he kept losing body parts in work-related accidents, his tinker buddy would fashion replacements made of tin. So eventually the Woodman was completely made of tin, with nothing of the original left; yet he was clearly still the same person. In a way it's a macro-scale illustration of the process our own bodies undergo, as the molecules of our cells are continuously replaced over time. Of course to our modern sensibilities the analogy breaks down when the Woodman's head is cut off; but it is just a kid's book after all.

    Another interesting point is that the Woodman is made of tin because the guy building the prosthetics happened to be a tinsmith; but there seems to be no reason why the Woodman couldn't continue to swap out body parts in the same fashion until he was made of gold or steel instead.

    In fact, in one of the later Oz books the Tin Woodman gets the idea to track down the remains of his old body, only to discover that some other dude has since used them to build an entirely different person, Frankenstein-fashion. The book itself doesn't compare very well to the first; but it does at least attempt to expand upon an interesting idea. How do you ask for your own head back if it's currently being used, especially since you seem to be getting along fine without it? It is an awkward situation, indeed.

  34. #84
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    The Oz books are so trippy and awesome. Like how an evil witch hides the Lost Princess Ozma by turning her into a boy. Or the evil chick with the interchangeable heads.

  35. #85
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    My interpretation of the Wicked Witch of the West.



    Earlier I mentioned W.W. Denslow, the original illustrator for the first Oz book, who had what I think was an extremely interesting take on the Witch. Of course, Margaret Hamilton's wonderful performance cemented the classic movie design as the archetypal witch of folklore. Denslow, on the other hand, was consciously attempting to design a Witchy look that would be quite different from the traditional European creature of myth.

    As depicted by Denslow, the most immediately obvious feature of the Wicked Witch is that she is straight-out batshit insane.



    Seriously, look at that hat. Look at that glorious, crazy hat. What witch wouldn't kill to have that hat? I ask you. I submit that the Wicked Witch deserves to wear a hat like that.

    And by all means do not fail to appreciate the rest of the getup: ruffed collar, bolero jacket, frog-embroidered skirt, hair in pigtails, and an eyepatch.

    Taken all together, this is an outfit that gets right up in your face and proclaims boldly: Yes, I am a danger to myself and others; what the fuck are you going to do about it, short-dick?

    One gets the sense that the Witch may have had a sort of Nixon-crazy psychological intimidation effect going on. Maybe she and the Wizard weren't all that different after all in that regard. Yes, clearly she could work magic; but why bother wasting your precious occult resources if you can convince everyone to keep out of your shit by other means?

    On the other hand, there is also a good argument to be made that she was just crazy. Or maybe she started out by faking it and then grew into the role. Being so old that your body no longer contains moisture has got to have a profoundly oppressive effect on one's psyche. Why else would you kidnap random people and force them to carry water around, if you are yourself water-soluble? On some level the Witch was clearly begging to be put out of her misery.

    I notice that my thread is turning into a fan-art gallery. Oh well.

  36. #86
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    When I turn 80, I will ONLY dress like that.

  37. #87
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    A couple nights ago I dreamed that a bunch of these tripod monsters were chasing me around the mall.



    They were about seven feet tall, with three legs, three eyes, and three carnivorous proboscises. They were also surprisingly fast and had an infectious bite, so humans who survived an attack would slowly and painfully transform into new tripod monsters.

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