|
|
Welcome to Total Impact!
Welcome to Total Impact, my new art site. This site, together with Impart, replaces my old art site, Artistique. For now, I just have my newer work from the last year or so here - works that have for the most part only been seen at various eXegesis sites but have not been displayed in one place. I'll gradually add older works from Artistique that I'm particularly proud of, as well.
This site is a little different to Impart. Impart is basically my "reputable" art site, for work that can be used for professional purposes - that is, work that has no intellectual property issues. Mostly, Impart is for sketch art, but hand-drawn digital art and art for which I had permission to use the source images also appears there. Total Impact is for the more laid-back art I do for my own enjoyment and the enjoyment of my fellow fans.
So on we blunder to the new additions!
25 December 2003: Christmas Update!
Just a couple of recent pieces, and a few from the archives as I wade through them all.
ADVENT 2003 (MULTIPLE CHARACTERS) (VIEW)
This piece, made for the 2003 P2K Advent Calendar, is consciously inclusive. It is an unfortunate reality that many collaborative projects become centered on mainstream interests, and this fosters divisions with the many stripes of alternative philedom. This piece focused on the four leads who appeared during the show's run, with careful choice of focus and inset, supporting-character images and text to embrace as many areas of the fandom as possible - slashers are represented by Scully and Reyes, skippers and skampers with a Krycek/Marita inset below Scully, scutties with a Skinner inset below Scully, foxleys with a Diana inset below Mulder, mythology geeks with CSM and Jeffrey, and so on. The X Files logo at the top is in fact a screen shot from one of the promotional ads that ran in the leadup to the finale in 2002. The scribbles were achieved with the freehand selection tool, filled in with the paint tool, with further degradings using cuts and erode filters. 1024x768 pixels, 161KB, or 800x600 at 100KB here.
|
|
HAVE A SKINNER CHRISTMAS (MITCH PILEGGI) (VIEW)
This piece was made for something at Christmas 2001, but I must confess I don't recall precisely what it was. It may have simply appeared as a Christmas card on one of my sites. I do remember, however, that it also appeared at Xanthe's site with my permission as well. I later donated another version of this piece, without the Christmas decorations and text, to the Thank You Mitch website. I had very mixed feelings about Skinner at the time due to his role in Krycek's death in Existence, and for that reason focused to a large degree on images of Mitch out of character. I love the vibrant colours in this one. 600x393 pixels, 85KB.
LEADING LADY CHRISTMAS (LAURIE HOLDEN) (VIEW)
This piece was originally made as a Christmas card for my Laurie Holden site, Leading Lady in 2001. This is another artwork that would eventually be resurrected as a standalone piece - I'm a bit of a data packrat and always save everything in its original layers, so quite a lot of my work takes on other forms down the track. Thie piece shows Laurie in a number of roles, including Marita, as well as a few general publicity shots. There's a lovely vibrance to each of the source images that seems to carry right through the work, even though each shot varies in mood. Despite the season, I'm displaying the better, non-Christmas version here, 800x600 pixels, 88KB.
RATCAVE CHRISTMAS (KRYCEK/MARITA) (VIEW)
This piece, a Krycek/Marita Christmas card used at my Skamper site Blondie's Ratcave, was originally made for a challenge of some kind in 2001, although I don't recall the specifics. It isn't a perfect piece - the blending around Marita has always bothered me, as has the picture of her itself (it's an awkward angle). But I do think there's something very powerful about the inherent falsehood of the picture - we the viewer know something that she does not, that Alex is dead and will not return. This image actually inspired a story of mine, Christmas Reunions: St Petersburg, whereas normally it's the other way around - I write a story and then that inspires me to create a companion artwork. 595x480 pixels, 47KB.
TELL ME A STORY (KRYCEK/DIANA) (VIEW)
This is a new piece, cover art for a story of mine, Tell Me A Story. Like The Cold White Room (which inspired the Krycek/Diana collage seen in the last update), this story deals with a hurt/comfort relationship between Krycek and Fowley set in Season 6 in the wake of the changes in the Consortium. The gorgeous arty nude picture of Mimi Rogers comes from a safe sex awareness pictorial in 1994. Mimi is in fact shown with a female friend here, not a man, but I used blending tools to obscure the telltale curve of the breasts and masked the trickery with Krycek's face. Since Mimi's friend is muscular, I was able to pull it off. The "Krycek" shot is in fact a screen capture of Nicholas Lea in Once A Thief. 728x472 pixels, 35KB.
PURITY CHALLENGE (FOUR LEADS) (VIEW)
In 2001, I made a small graphic incorporating the four leads, Mulder, Scully, Doggett and Reyes, for an award graphic for a nextgen-friendly writing challenge (at a time when nextgen-inclusive artists were a rarity). I was rather taken with the picture, and I wound up blowing it up and using heavy colour and texture filters to make it work as a standalone piece. I've never really used it for anything - it was really too small to support being enlarged to wallpaper size, for instance - but the very fact that it could not be used for anything freed me to be a little more adventurous and experimental with very vibrant colours and contrasts. 500x375 pixels, 73KB.
REUNITED (DOGGETT/REYES) (VIEW)
This 2001 piece, made not long after Annabeth Gish joined the cast, marks the reunion of Doggett and Reyes (whether a romantic or platonic reunion is in the eye of the beholder). One thing I love about collaging Reyes is her exaggerated eyes - they're very powerful visually, and they tend to draw the viewer into the picture, especially with that piercing look we see in the bottom centre of the artwork. I've always thought there must be a very powerful bond between these two, regardless of what kind of bond, for her to drop everything and fly across the country to help him as she did, and I think this piece captures a lot of that intensity between them. 640x480 pixels, 116KB, also available in less textured yellow tones here (86KB).
AGAINST ALL ODDS (BYERS/SUSANNE) (VIEW)
This 2000 piece marks the fraught connection between John Byers and Susanne Modeski in Unusual Suspects and Three Of A Kind. The title is for the song of the same name - I once made a music video for these two using that song. The collage itself was simple enough, but the job of making the colours work well together was surprisingly difficult I experimented with a lot of effects and eventually went with yellow tones and an equalise histogram filter - an old standby that I use now and then to salvage an uncooperative work. 640x480 pixels, 102KB, also available in lower-contrast peach tones here (81KB).
LAID BARE (MARITA, ONE SON) (VIEW)
This early piece, circa 2000, was a very experimental piece for me, bordering on abstract. It was inspired by a quote by Laurie Holden about her character, Marita, in One Son. It tries to capture in some way her suffering during the Patient X-RATB-Two Fathers-One Son arc. The title is from one of the feedbacks I received at the time, which I've never forgotten - that looking at it was almost painful, "like looking at the inside of the human body laid bare." That may be one of the highest compliments I've ever received. 640x480 pixels, 67KB.
14 December 2003: Recent Works And Some Archives
This collection, like last update, is a mix of very recent works and blasts from the past. I've also fixed the links from the last update that weren't working - sorry about that! A lot of these are project-related.
NOT FOREVER (KRYCEK/DIANA) (VIEW)
This is my newest piece, a collage themed on a hurt/comfort relationship between Alex Krycek and Diana Fowley during Season 6, when their other love interests are estranged from them due to their work in the conspiracy. We see Alex and Diana at the heart of the picture, and some of the griefs and pressures upon them are shown crowding them in - Marita's illness, Mulder's conflict with Diana in The Beginning, and the soldiers and Fort Marlene. I'm rather proud of this one - although I've made plenty of pretty artworks, it's not often that I make something that I feel really captures a whole story or dynamic, but I believe I achieved that with this one. This one occupies a special place in my collection. 621x425 pixels, 53KB.
BEFORE I WALK ON FIRE (FOLLMER/WAINWRIGHT) (VIEW)
This piece was cover art for a story I wrote associated with the XFVCU Virtual Series. In it, Brad Follmer forms a fraught and potentially deadly bond with a beautiful supersoldier, a protegee of Shannon McMahon named Yoland Wainwright (represented here by Firefly actress Morena Baccarin). It's really quite a simple piece, but it has a certain elegance, and I do love the texture and play of colour over this one. An earlier version, with Jeffrey Spender on the right, was slated to be the cover art for the XFVCU story Prism (see below), but I felt the image was too romantic for a casefile. 620x468 pixels, 120KB.
PRISM (FOLLMER & SPENDER) (VIEW)
This piece was cover art for a casefile story I co-wrote for with the XFVCU Virtual Series. This cover had to work with a rather delicate balance - on one hand, Brad Follmer was the central agent (he carried the primary conflict in the story). But on the other, the case itself and the other agents were the real stars of the story. The perpetrator, Yolanda, was pivotal enough to need to appear, but shadowy enough that she didn't warrant sharp focus. It was a tricky story to collage, but this cover (about my fourth try at an artwork that would do it justice) fit the bill. 419x516 pixels, 39KB.
SKYLAND (KRYCEK & FOWLEY) (VIEW)
This piece was another casefile cover for XFVCU. This story revolved around Krycek and Fowley returning to Skyland Mountain, and revisiting some of Krycek's ghosts in the process. The casefile, brilliantly written by my friend Eodrakken Quicksilver, had a certain dark vibrance that I wanted very much to capture, and I used a lot of textures and heavy saturation to achieve it. Ascension Krycek was used to good effect here, representing not only Krycek the last time he was there, but also professional Krycek now. I was particularly proud of this one. 431x540 pixels, 56KB.
BENEATH THE SURFACE (DOGGETT & REYES) (VIEW)
This piece was another casefile cover for XFVCU. This story, by Lara Means, saw Doggett and Reyes return to her old stamping ground of New Orleans to investigate some corpses who had turned up very much alive. There was a certain obscure, merrily macabre feel to this story that I was trying to capture with the contrasts of low and high saturation, and eroded pictures and sharpened textures. I must confess, I don't think this works exceptionally well - it isn't a bad piece, but it didn't really achieve what I was aiming for. 552x704 pixels, 137KB.
ALONE (WMM) (VIEW)
This blast from the past dates from 1999, and it's one of the earliest pieces I'm really proud of. It deals with the Well-Manicured Man in Terma, after the loss of his lover, Consortium scientist Bonita Charne-Sayrre. I especially like the shots of his face as he turns, and his delighted face in watching her before her death as well. This was a case of turning a bad situation to good - my screen capture card was pretty primitive (as was usual back then) and the contrasts were very drastic and over-dark. I turned this to my advantage by building the collage up in stark contrasts of black, red, and yellow. This was probably the start of my love affair with warm earth tones. 640x455 pixels, 104KB.
AGNUS DEI (MULDER/DIANA) (VIEW)
Another one from the archives. This one is from 2000 and one of my earliest forays into Mulder/Diana. I had recently captured The End for another purpose and was surprised to realise how many really lovely shots of Diana were hidden amongst them. I think of this one as set just after she was shot, while Mulder thinks of her and waits for word on her condition. I think I was over-reliant on one-colour toned work at this point, but it's still an old favourite of mine. I think it captures the fondness and simple pleasure these two take in one another really well. 600x450 pixels, 40KB.
DISSOLUTION (SKINNER/SHARON) (VIEW)
This blast from the past is circa 2001, and was made for a Guess The Artist challenge. I consciously strived for something a bit different to make my artwork harder to guess, using very dramatic shadows and much more adventurous use of colour and symbol. I think this captures the searing pain of the Skinner divorce really well, and while I didn't like it very much at the time, it's grown on me in restrospect. I don't think this one is art of the pretty kind, but it has a certain gritty expression that pleases me. 600x480 pixels, 76KB.
4 October 2003: Recent Works And A Side Of Nostalgia
This collaction is a mix of very recent works and blasts from the past. There's no particular rhyme or reason to it, though. My old art site, Artistique, went down recently, so I need to start adding some of the better works from there over here. I've added a couple of sketches to Impart, as well.
PARTNERS (MULDER/DIANA) (VIEW)
This is my newest piece, a wallpaper themed on Mulder and Diana working together in the field in The Beginning. Diana as a field agent is very much on my mind at the moment, due in part to my involvement in the XFVCU virtual series (see related artwork below). It's also how I like these two together, playing off against each other with their own agendas. The Beginning is a challenge to work with because its lighting is exceptionally dark, even by X Files standards - to even begin to work with these captures I needed to apply brightness and contrast filters of over 50%. However, this added a wonderful texture and was ultimately a benefit. The images are available at Neither Allegiance Nor Price. I'm extremely happy with this one - it's replaced Immortal Beloved as my desktop wallpaper. 800x600 pixels, 75KB.
HOMAGE (KRYCEK/MARITA) (VIEW)
This is an old one for a challenge at P2K last year. I didn't like it much in its original form, and I've modified the colour before posting here, but it won the challenge. The concept was to make a collage that included a personal statement about why you liked the couple or character. I think with this one I was kind of trying too hard - I had the statement, and I had some lovely images I'd been wanting to use, but I was trying to combine them instead of taking each element separately. It's not a bad collage, but not a favourite of mine, either. 800x600 pixels, 102KB, also available in 1024 and 1152 wallpaper size.
LOVE ISN'T ONLY FOR THE LIVING (BTVS' SPIKE/DRU) (VIEW)
This collage is themed on Buffy vampires, Spike and Drusilla. Lovers for over a century, these twisted yet adoring vamps bucked the system and ignored the codes of their own kind to live out their delightfully besotted love affair. Spike and Dru have been described as a vampire equivalent of Krycek/Marita, which probably explains a lot. I was working with slightly blurred DVD captures for this one, and I wound up using textures and washes to compensate, but I was happy with it just the same. Oh, and as proof that I can tie anything to the X Files? Juliet Landau (Drusilla) is the daughter of FTF's Martin Landau. 800x600 pixels, 105KB.
REYES IN MAUVE (MONICA REYES) (VIEW)
This is another collage where I was trying too hard. Last year, I was running the Thank You Annabeth charity project, and I was coming up with extras to attract people to the site on a regular basis. This was one of the things I worked on, and I was kind of throwing together what I had (at the time, Reyes images were in short supply). It sat on my laptop, abandoned for a long time, and I finally came back to it while I was cleaning out my hard drive. To my surprise, I managed to get something usable out of it. It isn't one of my best works, but I think there's a lovely softness about this one. 800x600 pixels, 51KB.
ACT OF CONTRITION (KNOWLE/SHANNON) (VIEW)
This collage is cover art for a story of mine, Act Of Contrition. This in turn is part of a larger universe, Eschaton, which is built on the premise that Knowle and Shannon were among the children we met in Herrenvolk. Because this story might be read by people who were not familiar with the universe, I wanted to convey this relationship with the cover art. I was very pleased with this one. The wonderful paint-spattered effect was a fortituous accident - I was selecting Lucy Lawless' black background with the wand for deletion, and the source image clearly had some irregularities, because those spatters were left over. I liked them so much that I kept them. 552x530 pixels, 108KB.
I LOSE MYSELF (OK2B/FEM2FEM) (VIEW)
This collage, dating from last year, is made from a beautiful series of lesbian-themed photographs by photographer OK2B, with lyrics from lesbian band Fem 2 Fem. I had mixed feelings about it at the time - in some ways it seemed to get too cluttered - but with the passage of time, it's grown on me. I like the sweeping, fluid lines. To me, the lines convey the feeling of movement across skin - a kind of romantic sensuality. 800x600 pixels, 72KB.
KATE'S CHALLENGE (KRYCEK/MARITA) (VIEW)
This collage was for a challenge held by my friend Kate last year. The object was to use one of her sketches in a collage. I used one of Nick Lea, along with a manipulated Krycek/Marita image that I liked but felt was too conventionally romantic to use on its own (the bottom one). This was only a couple of months after I had the privilege of interviewing Frank Spotnitz about Krycek and Marita as well, so I'd wanted to mark that in some way. So all the elements came together, resulting in this. 800x600 pixels, 93KB, also available in 1024 and 1152 wallpaper size.
WITH YOU I SEE (MULDER/DIANA) (VIEW)
This is an old Mulder/Diana collage done last year. I was really enjoying watching these two together in The End, and enjoying seeing the way they smile a lot in that ep, and it occurred to me to make something that captured the enjoyment that I imagined they'd had during their past relationship and Mulder's recapturing of that. So I went out of my way to find kind of funky, relaxed pictures of the performers, and threw in a few manipulations that didn't work so well on their own. I love the texture in this, from the hay in the main picture of David. 800x600 pixels, 125KB.
EXPOSITION (KRYCEK & DIANA) (VIEW)
This is just a simple artwork, put together very quickly. It's cover art for Maidenjedi's story Exposition, an episode of XFVCU. In it, Krycek and Fowley, newly partnered, are working a case and grappling with the baggage of their emergence from cover. There's a juxtaposition at work in the story - Krycek doesn't want to use his gun, he doesn't want the reputation of being the bad boy anymore, but ultimately he is still the same old survivor we know and love. But this time, he has someone to watch his back, and that's absolutely crucial to his actions - having a partner serves as his motivation and his buffer. It's not the best artwork I've ever done, but I love the capturing of that moment, and the vibrant colours amid the darkness. 632x459 pixels, 39KB.
I ENJOY YOU (KRYCEK/MARITA) (VIEW)
This piece was derived from a wonderful photograph of Laurie Holden in the The Majestic press kit. It's such a slyly joyful smile, and it reminded me instantly of a quote from Cecily Sasserbaum's Krycek/Marita story The Good Fairy. I do think this one could use some colour correction and possibly a different font, but I must admit, it makes me smile and betray my Skamper fangirl heart, as well. 800x600 pixels, 102KB, also available in 1152 wallpaper size.
EVOLUTION (KNOWLE/SHANNON) (VIEW)
This piece was made as cover/companion art for a story, Evolution. In it, Knowle and Shannon watch the apocalypse unfold from their Chesapeake balcony, and try to make sense of their own position in the food chain - as half-castes, they are now the alien race's prey. It was actually a pretty simple collage to make - I started with the photo shoot image of Lucy Lawless (Shannon) standing by a curtain, and then added the Baltimore skyline, fire, and an eroded image of Adam Baldwin (Knowle) kissing a woman from another production. Despite its simplicity, I think it works with the overall story really well. 800x632 pixels, 102KB.
DON'T STOP SWAYING (KNOWLE/SHANNON) (VIEW)
Like Evolution, this piece was made as cover art for a story, Don't Stop Swaying. This story was a NIHT II post-ep in which Knowle and Shannon made their way home through the Baltimore waterways, and resolved their differences at the same time. Once again, it was a simple exercise - wet Lucy and wet Adam, basically. However, its simplicity does not detract from its effectiveness. The moral, I suppose, is that the objective is to make something that works for its intended purpose, rather than necessarily trying for "more." 358x412 pixels, 35KB.
12 July 2003: Debut Collection
This collection represents some of my work in the past year or so. I have been designing less for art's sake and more for particular purposes of late, so a number of these relate specifically to some work of fiction, website, or project. But there are a few quirky things just for fun, as well.
PRONE BEFORE YOU (MULDER/DIANA) (VIEW)
This is my newest piece. It started life as the two focal images in an intended collage, but in the end, it worked better as an arty manipulation. I love the maturity and unaffected ease these two characters have together, and I think the simplicity of this artwork reflects that. The main trick here was adjusting the lighting and colour balance, and then using texture to unite the source images. I also faked some shadows to make Diana's position appear realistic and seamless. This image is the basis for an icon I use at one of the sites I frequent, as well. The source image of Mimi Rogers (Diana) is from my personal collection and can be found at Mimi Magic. I believe the David Duchovny image came from Chimerical. 800x504 pixels, 62KB.
BELIEVE (MARITA, COVER ART) (VIEW)
This image was cover art for a post-col story I wrote in which Marita delivered a speech at a formal occasion marking the sacrifice of those who died in the fight against the alien race. The speech was set off against moments in her life which tracked her character's development to the present day. The key image here was a still of actress Laurie Holden as Adele in the 2001 movie The Majestic - Adele is attending a war memorial service in the image, so the image worked with the desired mood especially well. She appears against a backdrop of the American flag, with a war medal (actually a stock image of a Russian medal) and a list of names. Tints to give the impression of age complete the picture. The story can be found at Literatti. 554 x 482 pixels, 52KB.
THREE CONSTANTS (KNOWLE ROHRER, COLLECTIBLES HOMAGE) (VIEW)
Australian and European fans will be familiar with the collectible cards which appeared in our videos and DVDs. The series of nine cards were painted, stylised character cards (seen here). I wanted to make an equivalent of these cards for Knowle Rohrer, and this is what I came up with. I was playing with the idea that there were three constants in his life: his counterpart, Shannon McMahon, his friend of seventeen years, John Doggett, and his role in the conspiracy. This one turned out to be very fiddly, but it was a great result. The source images are all screen captures. 536 x 790 pixels, 66KB.
THE WAY SHE MOVES (ANNABETH GISH AS AIMEE) (VIEW)
This was a fiddly, but straightforward collage of stills from the 2001 VHI film The Way She Moves. It was originally made for my Annabeth Gish tribute All Annabeth. To be honest, I wasn't all that happy with certain aspects of this one, particularly the fall of the shadows, but it's pretty. One thing I really wanted to capture was the vibrance and exuberance of the final scene of the movie. and I think I did that. One of my favourite aspects of the film was the fact that Aimee's love rival was not a one-note bitch and that they wound up on good terms, so I really wanted to reflect that angle (bottom right) - I would have liked that portion of the collage to work better with the rest. Still, it worked out pretty well. 1152 x 829 pixels, 131KB.
IMMORTAL BELOVED (KNOWLE/SHANNON) (VIEW)
This collage was made for my Knowle/Shannon site, Immortal Beloved, and at present is also the source of the accent image for Total Impact. When I made this collage, I had only just finished a novella about the characters, so I was still heavily into their mindset. I decided to use only X Files stills (no actor images), and this presented some challenges. Neither of them had many usable scenes - most of Knowle's were in shadow, and Shannon's were in water. I wound up filling a couple of empty spots with his military ID and her justice department file, and this worked particularly well. There are three colourways - warm colours, high colour, and cool colours. 800 x 600 pixels, approx 85KB.
WHISPERJACK (YVES ADELE HARLOW, COVER ART) (VIEW)
This piece of cover art was for a story I wrote about Yves coming to terms with her actions, her past, the loss of the Gunmen, and her relationship with Jimmy after Jump The Shark. I wanted to put across the idea that all these things were crowding in on her, so I had a quite fraught image of her at the center and all these elements around it. The title, whisperjack, is derived from the title of a record (back when things were still recorded on vinyl), Whispering Jack, by John Farnham. Farnham's work is concerned in part with social responsibility, and that's a theme in the story. The story can be found at Literatti. 640 x 480 pixels, 31KB.
ALL ABOUT YVES (YVES ADELE HARLOW AND JIMMY BOND) (VIEW)
This piece was mostly a favour to a friend, who ran a collage challenge in mid-2002. The idea was to collage a pairing you didn't follow and hadn't collaged before. Since I've paired most people already (*snerk*) and had only just seen the Lone Gunmen series, I decided to pair Yves and Jimmy. I was working with small VHS captures, so this presented a challenge. I got around the inevitable quality problems with texture filters. I had the vague idea of the more distant image of Yves standing on the street (middle top) being the focus image, with Yves looking over her shoulder at the past. I used random noise for a grainy, slightly weathered effect, and allowed the variations in light to stay intact, in keeping with that idea. 650 x 524 pixels, 130KB.
I'M FREE (MULDER/SAMANTHA, CLOSURE) (VIEW)
This collage happened almost by accident. I was going through Closure to get a screen capture for a friend, and there was one image of Mulder and Samantha in the closing sequence that I was particularly taken with. It went from there. I've always been fond of Closure, an episode I consider to be less about a concrete explanation for Samantha's disappearance and more to do with Mulder accepting the fact that she is lost to him. I think it was also a turning point for Mulder in broader terms. So I particularly like this moment in his development. I suppose the main criticism I have for this piece is that there are green flecks from the video source. I may attempt to re-make this piece with DVD captures in the future. 643 x 524 pixels, 115KB.
CONCESSIONS (SAMANTHA, JEFFREY, CASSANDRA, COVER ART) (VIEW)
This collection of artworks served as cover art for three interrelated pre-XF stories. In the Concessions universe, Samantha and Jeffrey had had an incestuous affair while caring for Cassandra in their teens, born of their isolation and the pressures of their situation. The first story was a Samantha POV, the second was a Jeffrey POV, and the third was a Cassandra POV. So each cover had the POV character as the focus picture, and Cassandra's cover had the background images from the other two as the background for hers. The stories can be found at Literatti. 3 images, 180KB total.
FAREWELL TO A LEGEND (FINALE BEHIND THE SCENES) (VIEW)
I made this collage in May last year with the behind the scenes shots from the filming of the series finale, released on the X Files Official Site. This was a challenge because the images were small, and of mixed quality and mood. Some were just another day at work, some were bouyant, some were nostalgic. So the basic composition and lay of lights and shadows was a tricky business, but it worked out in the end. I wound up using exaggerated lights and shadows. I was shooting for something more mellow than I got, so it was the kind of collage that turned out quite differently to its intention due to the limits of the source material. But it was a nice tribute. 1152 x 864 pixels, 204KB.
NINE YEARS OF POP CULTURE (HOLLYWOOD REPORTER COMMEMORATION) (VIEW)
This collage was made from the various farewell and thank you advertisements in the special edition of The Hollywood Reporter (May 2002) commemorating the end of the series. I was careful to include all the fan-bought ads. A number of the production ads (including Chris Carter's thank you to the fans) are in there as well. I designed the Thank You Annabeth ad and had varying levels of involvement in the fundraising from the other campaigns, so this collage had a personal dimension for me. More details about the TYA ad can be found at Impart and Thank You Annabeth. 1152 x 864 pixels, 237KB.
HANDS (KRYCEK/MARITA, COVER ART) (VIEW)
This one is a blast from the past. Back in 2000, I wrote a story called Hands (available at Literatti). This story revolved around Krycek's loss of his arm and how it represented a deeper loss for Marita in terms of his capacity to relate to her, and his place in her life. It's kind of dated now, but it's one of those stories that stands out in my memory as one I did some pretty cool things with at the time. And I wanted so very much to make a cover art that really captured what I'd done with it. This artwork is focused on a pair of linked hands, and uses warm colours and shadows to capture the kind of dark vibrance of what I was trying to do. It's one of my favourite works, even now. 648 x 486 pixels, 55KB.
I'll have another update soon, and then I'll start adding galleries and adding back some of my older works. Keep an eye on eXegesis for updates. For now, I'm keeping the old, very dated Artistique up, but that will go down as soon as I have the content I plan to keep moved over. Don't worry - everything worth keeping will find its way here sooner or later. Enjoy!
|
|
|
