Bella miała zielony pas, o ile dobrze pamiętam ^^'. Zastanawiałam się, czy nie narysować jej z "Bestią" (Czarkiem). Jednak taki obraz nie przypadł mi do gustu, i jestem zadowolona z tej wersji widocznej wyżej. Oczywiście Bella uwielbiałą róże, ale niebardzo wiedziałam gdzie by wcisnąć choć jedną. Zreszta nie jestam dobra w rysowaniu kwiatów...
After months of work, here it is. This is the half-scale (1:24) cottage of Esmeralda Weatherwax, who lives in Bad Ass, Lancre in the Ramtops on Terry Pratchett's beautiful and quirky Discworld.
I made the cottage from scratch, including LED lighting, which cannot really be seen on the pictures - it has to be seen to be fully appreciated. The house itself has foamcore coards as its base to make it a bit more lightweight than the first cottage I made. Materials used include air dry clay, New Forest wood (of course old wood I picked from the ground), fabric, balsa and basswood, polymer clay, different kinds of paints and dyes, ... I don't really remember all of it. I made almost all of the things you see from scratch too, except the spoon, plates, tray, the goblets, the chamber pot and the glass bowl. It took me an estimated 100 hours and cost me about £50 in materials.
There are a lot of references to the books hidden in the cottage. I haven't read all of the discworld novels yet so the cottage is in the state in which it was roughly after Maskerade:
There's obviously Granny herself in her black velvet dress, her boots and hat nearby. Her privy is outside and her rocking chair in front of the chimney. I put a beer for Nanny in the kitchen, who might have been visiting. Granny is currently borrowing her bees, holding her sign, her blue eyes wide open. There are also a couple of bats hanging from her beams that she borrows on other occasions. The beehives in her garden are empty. There is a little box holding her love letters from a very young Ridcully. There is her mother's clock on her table which she keeps for the ticking and her coat nearby, which is now lined with a dark red fabric and may be her only non-blkack piece of clothing. One of the horseshoes made for the unicorn from her molten silver is hanging above her bed. Downstairs, the table is set for the next coven meeting. Magrat brought her famous bat scones and Granny put out a very large spoon for the sugar which she will need after borrowing. The family of mice which she threw out of her dresser moved into the cupboard under the stairs. In fron of the hearth is the rug on which the eagle rested, it left one feather. Her broomstick, which she "borrowed" from Hilta is leaning against the wall, there is her iron poker next to the rocking chair.
It was a really fun project and it's almost a bit sad to give it away now but many of you will know the feeling: you just can't keep everything.
I know pretty much the whole script off by heart, whoops. First of a planned trilogy (bet you can't guess who the other two subjects will be). I'm really happy with this, for now, anyway. As the caption to my self-portrait in scraps implies, I've been reading a lot about art lately. Given my limited time and my EXTREMELY limited finances, I want to make sure that I'm practising mindfully. I know the 10,000 hour theory is an average, but I'm increasingly committed to putting substantial time into practice and pieces. This piece comes after reading an excellent blog called learning-to-see.co.uk, which follows a man as he attempts to teach himself drawing using the resources available to him.
A while ago I purchased a book about what goes on at an atelier, realised it involved a lot of space, and decided to wait until I had the means to set up a studio and easel etc. Reading this blog, however, I realised that the sight-size method favoured by the ateliers is something I'd been practising myself, to an extent. Typically, when I'm drawing something on the computer, I will have two monitors set up: one with photoshop and a canvas, and the other with the reference image/images. I typically spend AGES on the sketch, believing it to be the most important part. This is an example of me practising what I'm good at and ignoring skills I need to develop; I've always had pretty good draftsmanship. The Bargue plates that the Learning To See blog introduced me to helped me see my subjects in a new way, whilst building upon the methods I'd used before. Although it seems most people drawing Bargue plates will mark the highest, lowest, leftermost and rightermost points with crosses, I decided to mark the respective planes instead. I found that this gave me a better sense of the overall composition. It certainly freed me up to start slapping down lightest lights, blackest blacks, and midtones. I was constantly comparing the angle of a feature with the angle of these plane lines, and it was so much quicker than a painstaking sketch. I am DEFINITELY trying this again.
While I was drawing this, I really tried to keep Loomis' form principle in mind. This was tough, given the fact that the light was natural and more or less straight-on. The nose suffered from this.
I think that overall I've succeeded with this piece, but there are some parts that nag at me. Individually, there are errors in all of the features, especially the nose/ears. I think a possible cause of this may be that I can draw perfectly passable ears/noses from imagination, and therefore when I'm drawing from reference my brain keeps wanting to superimpose what it thinks a nose/ear from that angle SHOULD look like, even when it doesn't. However, I'm not giving up hope. My eyes used to suffer greatly from this problem - I'd draw them too big, too contrasty, too sharp, too round, etc. - but I've come on leaps and bounds with them.
Your critiques are very welcome. I need all the help I can get.
Here is my another favourite Discworld character - lord Havelock Vetinari. From the movie Going Postal, where he was fabulously played by Charles Dance. This is basically an experimental sketch, in which I tried to imagine him with proper black hair... (no offence, but red-haired Vetinari is just against every law of the universe) I like how it came out.
Believe it or not, in all my years of Discworld fandom I had never yet really drawn His Grace Sir Mister Vimes. I really never managed to draw him the way I picture him in my head. This is a step in the right direction, far from perfect, but if I don't post it now I'll keep working on it forever and then forget about it...
The symbols behind him are, of course, the Summoning Dark and the opposite entity Vimes created inside his own mind, the Guarding Dark. I don't think the latter has a symbol in the books but it features ('just in case') on the other side of the Summoning Dark keychains you can buy from the Discworld Emporium. I have one
ASDFGHJKL Snape and Lily. ALWAYS my favourite. ALWAYS beautiful. Always. THE FEELS. Also, i know Snape and Lily's patronuses were does, but I wanted to do antlers.. so yuppers, it also incorporates James and Harry. Totz did it on purpose