Tag Archives: drawing

Talislanta

In the 1980’s when I was a Dungeons and Dragons nut, I found a role-playing game that was sort of unique.  It was called Talislanta.  Created by Stephan Michael Sechi, it was a game like D&D, but totally without elves and dwarves and orcs and even humans.  It was set on the world of Talislanta with many weird and wonderful races that didn’t exist anywhere else in literature.  I used it to play RPG games with South Texas kids, and the Baptists preached against the demons and devils in D & D.  The only way I could get away with D & D games was by playing Talislanta, where the Baptists couldn’t preach against me because they didn’t know what the heck it was.  So, I created stories and art from Talislanta, inspired by the work of the game’s lead artist, P. D. Breeding Black.

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Kastur, hero and adventurer

Hal Vas was a Jaka wilderness scout, while Xeribeth was a Zandir Sorceress who specialized in spells of flight and levitation.

Orrin, the headless snow wizard, and Teveron, the Tanasian pyromancer were both bad guys who tried to defeat the heroes at every turn.

Magnolia and Willowleaf were both Muses, the butterfly-winged people who used magic mostly for the purposes of entertaining others.  They were attended by the tiny butterfly-winged people called Wisps.

Talislantans were many different colorful races.  There were green ones like the Cymrillians, the Tanasians, and the Oceanians.  There were blue ones like the Mirin.

Sunnyjias was a Cymrillian enchantress while Zoran-Viktor was a Mirin alchemist.

Spooky was a Man-ra Shapechanger who could alter his body shape drastically.  Harun was a Phantasian astromancer who could fly using sailing ships powered by anti-gravity wind crystals.

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And Tazian Thralls were warriors who had elaborate colorful tattoos over every inch of their bodies.

It was a fun world to play in.  Magic and mystery and wacky wizards abounded.  And it wasn’t all about throwing fireballs and whacking stuff with swords… although there was a lot of that too.

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Filed under drawing, Dungeons and Dragons, fairies, Paffooney

Pen and Ink

4th Dimension

Simple lines and line-drawn figures can contain the wisdom of the world.  It is a simple faith that can turn one into a cartoonist, a comic book artist, or an illustrator.  It is an almost god-like power.  You can make fools and geeks and little girls with fourth dimensional hoola-hoops come to life.

 

It has been said by some who’ve seen my line drawings, my pen-and-ink cartoons, that I am good at it.  But what do they know?  I’ve shown you in this blog some of the real greats.  Wally Wood and Milt Caniff and Cliff Sterret and George Herriman and Charles Shultz are all better than I am.  But I am at least smart enough to have learned things from them.

Elf on Patrol

Black and white lines and shapes can convey feeling in almost the same way that words can.  You can express feelings of melancholy, fatigue, or joy.  You can create a sense of adventure, or make someone laugh with a clever reversal of expectations.

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So there you have it.  I am not really that good… not a master of the art.  But I know it.  I can appreciate it when I see it.  And there are things I can use it to accomplish.

MickeyX22

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Wally Wood

wally-wood-portrait

A self-portrait by Wallace Wood.

I am a bit of a cartoonist for a reason.  I started drawing cartoons at the age of five.  I read everything in the Sunday funny pages, not just for the jokes.  I poured over the drawings and copied some.  I drew Dagwood Bumstead and Blondie.  I drew Lil’ Abner and Charlie Brown and Pogo.  Cartoonists were heroes to me.

But my parents wanted to protect me from the evils of comic books.  Superheroes were off limits most of the time.  Things that are associated with evil were out of the question.  So Daredevil was beyond reach.  And Mad Magazine was full of socialist ideas and led kids down the dark path of satire.  So the truth is, I didn’t discover Wally Wood until I was in college.  His corrupting influence didn’t take hold of me until I was older and full of hormones.  Ah, youth and the propensity for sin!  Wally taught me that cartoons could be real.

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Wally Wood was one of the original artists working for EC comics who formed Mad Magazine with it’s spoofs and irreverent humor.  Wood worked together with the Great Will Eisner on the Spirit.  He went on to work for Marvel on the comic book Daredevil where he innovated the red suit and double-D logo, as well as doing the primary story-telling that brought that comic book from the bottom of the Marvel stack to almost the very top.  His work on Daredevil resonates even until today where there is now a big controversy that the popular show on Netflix does not list Wood among the creators of Daredevil in their credits.  I must remember to complain about that later.

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But the thing that drew me to Wood more than anything was the realistic style that he brought to the unreal realm of cartoons.  The man could draw!  He did marvelous detail work and was a leader in the development of dynamic composition in an artistic industry that tolerated and even often encouraged really poor-quality drawing.  He took the comic book from the age of the glorified stick figure to an age of cinematic scope and know-how.  Here it is revealed in his classic break-down of innovative comic-book panels;

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But it is also important to realize that the more power you put into art, the more it can blow up and hurt people.  Wood had a dark side that went a bit darker as he went along.  He had an issue with the kind of false front comics had to throw up in front after the anti-comics crusade of psychologist Fredric Wertham’s book Seduction of Innocents.  He is probably the artist behind the cartoon poster The Disneyland Memorial Orgy.  He started his own cartoon studio that produced increasingly erotic and pornographic comics like Sally Forth, Cannon, and Gangbang.  He became increasingly ill, lost the sight in one eye, suffered severe headaches, and eventually committed suicide in 1981.  With great power comes great responsibility, and we are not all superheroes in the end.  But I will always admire and emulate the work of this great artist… and selfishly wish he could’ve lived to create more of the wonderful art he gave us.

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wally_wood_science_fiction

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Who Am I?

space cowboy23

“Who am I?” the Walrus said,

“I have to know before I’m dead.

And if the Cosmos will not say,

I’ll ask again another day.”

“You are a simple Disney clone,”

Said Cosmos when we were alone.

“You draw and color with your brain,

And tell some stories despite the strain.”

class Miss Mcover

“You taught a while in the Monkey House,

And learned that students like to grouse,

But in the end will love your class

And will give you medals made of brass.”

Alandiel

“And your poems are filled with Angel words,

Both quite profound and yet absurd,

Because your mind soars far away

On winds of wild romantic play.”

“I guess that I can live with that,”

Said Walrus as he grew quite fat.

“And Mickey is the name I write

To sign my pictures in the light.

And that is all I have to say

To write myself in the crazy way.”

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Filed under humor, Paffooney, poetry, Uncategorized

Mixed Media

I am once again needing to write an easy post because I am feeling quite ill.  So let me talk about an artist thing that is totally boring for those who already know about this stuff and fascinating to anyone who always wanted to know art secrets from the secret tomes of drawing-wizards and painting-wizards.  So here is some of the arcana gleaned from years of experimentation in the tippy-top of Mickey’s wizard’s tower.

Ariel

Pen and Ink – When I first discovered I could make pencil pictures of naked girls, long about the magical-hormone-age of twelve, I began regretting the fact that pencil pictures easily smear.  So, I had to find a further magical technique to make the pretties stay free of the dark clouds of graphite smudge.  The magic wand I chose first was the ink pen with black ink.  4th Dimension

Of course, I am not using examples of middle-school me drawing naked pen-and-ink girls.  Mothers, girlfriends, and wives make those things go away.  But I am showing examples that have magical little elements in them that reveal my secrets.  One thing that magically works is filling shapes and areas of the drawing in with specific patterns.  The crosshatch work in the mermaid picture is obvious in the mountains and the mermaid’s hair.  Not as obvious is the suggested scale-pattern in the mermaid’s fish tail.  Notice how it only fills in the areas I need to suggest shadow and create 3-D form.  The pattern that makes the floor for the hoola-hooper is a pattern that subtly suggests radioactivity.

Rabbitcastle b&w

This high school art project, the very first in incarnation of Rabbit Castle, shows my utter failure to effectively use pen and ink wash.  I think I did get the wood pattern and the brick pattern right.  But the filling of areas with diluted ink wash was a total mad failure of mud-making proportions.  I decided against further using pen and ink wash in high school.

wash ink

Water Color – I also experimented with adding life to drawings by using water color.  Don’t look too closely at this horse-head bookend picture because I accidentally gave the poor pony severe-plaque psoriasis with watercolor, something I wouldn’t wish even on a horse made out of plaster or stoneware.  Water color is difficult for me because I am highly controlled when I draw.  I do not like the many “happy accidents” of the water-color world.  I do not adapt well to runny color.  So, water color also became a NO for me in high school.

Bobby

Colored Pencil – I did however find magic when I first learned to blend colored pencil colors on the page and create full-color drawings.  I especially like the fact that bright colors are easy to manipulate and contrast for me.  I am somewhat color-blind (red-green color-blindness that is worse in my left eye than my right).  I like colors I can actually see.  If you look carefully at this picture of Bobby and Horatio T. Dogg, you will notice that this is solely made up of colored pencil lines and shading and color-blends.  It was with this media that I found my true art mojo.

minions BandWminions color

Mixed Media – So the style I most often use for the magic of forging Paffoonies is a mixture of my two favorite media… colored pencil and pen and ink.  So here is the magic formula; 1. Draw first in pencil.  2.  Go over the lines in black ink.  3.  Fill in all areas with texture and color made from colored pencil.

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Numbers!

“In fourteen hundred and ninety two, Columbus sailed the ocean blue…” a very bad thing for the Native Americans it turned out, and in 1942 Hitler threatened the Jews of the world with annihilation at a speech in the Berlin Sportpalast in January of that year.  1942 and 1492.  What does it mean that my house number is 2914 Arkady Street?  Who is doomed to die?

Life on Mars

Don’t you think I know how crazy that is?  Numbers can’t possibly mean something like that.  Can they?  But all my life I have been plagued by a confluence of numerological signs and connected meanings.  And I don’t think I am alone.  Perhaps it is even a fairly common mental disorder.  Triskaidekaphobia is an irrational fear of the number 13.  And Friggatriskaidekaphobia is fear of Friday the 13th.  Is this a rational fear?  Maybe it was for the Knights Templar, because on Friday the 13th in 1307 Philip IV, King of France arrested virtually all the Knights, confiscating their fortunes and torturing them, then putting them to death after forcing them to confess to blasphemies.  And this was not the origin of the superstition.  There were 13 people present at the feast of Passover in the Upper Room on Nisan 13 (of the Hebrew calendar), the day before Jesus was executed on Good Friday.  When the 13th person left the other 12, that person was Judas Iscariot.  Either numbers do have consequences, or the world is just as crazy as I am.

Okay, so it’s the latter.  The world is just as crazy as I am.  But it is not all bad and dark omens.  I was born during a blizzard in Mason City, Iowa in 1956.  In 1985, the car I was driving had the mileage meter roll over to the point that the last four digits readable were 1956.  That same day I made love to a woman for the first time in my life.  I kept watching the odometer.  In 1994 the last four digits (in a different car) rolled to 1956 on the way home from a date at the Pizza Hut in Pearsall, Texas.  The woman I had dated married me the next January in 1995 and the first four digits turned to 1956 nine months later on the day my oldest son was born.

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And Douglas Adams fans like me all know that the answer to Life, the Universe, and Everything is 42.  This magic number is revealed in The Hitchhiker’s Guide to the Galaxy trilogy that has more than three books in it.  Do I actually believe there is anything to this numerology claptrap?  Are we connected to the universe by numbers and equations through science, particularly physics?  Do numbers have mystical values that can be interpreted for our own benefit?  No.  Yes.  And maybe, I just don’t know for sure yet.  I believe in magic.  But I also believe in science.  Equations measure reality, but only through words can we define it.  Did I make you laugh?  Did I reveal myself to be totally bonkers?  Did I make you actually think?  Again… No.  Yes.  And maybe, I just don’t know for sure yet.  Unfortunately, there were 513 words in this essay… so I added this extra sentence.

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Filed under autobiography, humor, Paffooney

Paffooney Stories and Toony Cartoons

My House1 My house2 my house3 My House4Here is a page for collected stories that I mean to build on and expand.  It is my intention to file cartoons here and edit them and add more pages via posts.  So for a first attempt let me use an old cartoon that was rejected once by Heavy Metal magazine in the early 1980’s and rejected a second time by a cartoon magazine that no longer exists and I can’t even remember the name of…  I am thinking they had very poor taste in cartoon art anyway.

Now, of course, this a finished four-page one-shot.  It was intended for a magazine that sought this kind of full-color art and had an over-all science fiction and horror fantasy theme.  I was too light and colorful with this short for their needs.  Disney characters on the PJ’s might have been a legal problem too.  So I am left with an unsaleable example of my best colored-pencil art, done when I was still pretty much a clueless kid and not yet a teacher.  It was worth doing, but will never make me a single dime.

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Decompression

I got the word that my mother’s surgery went smoothly and she is fine.  Hopefully she will be out of the hospital soon.  I can breathe again.  There are numerous moments in life that make a person’s heart quicken and the “fight-or-flight” security program in the brain kicks in, making us breathe harder… making us sweat…   We wait endlessly for the threatening conditions to pass, and minutes feel like hours.

11062801_558004507676172_3499292867024087071_nAlan Watts was a genius who took Eastern philosophies and meditation and brought them to Western culture in a way that offers light and hope and freedom from fear.  I discovered him on YouTube and learned that even though he is dead, his thinking reaches out to me and gives me comfort in my inevitable face-off with Death.  Do you know Death?  He was that funny. yet disturbing character in some of Terry Pratchett’s funniest Discworld novels… the one that talks in ALL CAPITAL LETTERS because the weight of his words are so serious.  That particular face-off in the Hockey Game of Life is one that sooner or later I am bound to lose.  Everybody loses that one sometime… but only once.  After all, as hockey players go, Death is a superior center.

I think that if I can get one message across to other people before I lose that face-off and the hockey game ends, it needs to be this, “All people are the same.  No matter what color, what sex, what belief system… they all have equal worth.  I am a part of them, and they are a part of me.  As Alan Watts says, I am connected to everything.”

Alandiel

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Filed under inspiration, Paffooney, philosophy

Work in Progress

The book I am writing at the present time is for the moment called Stardusters and Lizard Men.  It follows the alien characters from Catch a Falling Star as they journey home after the failed invasion of Earth.  They have with them three Earthers, humans born on Earth, who have come along on the journey because they have fallen in love with members of the alien Telleron race of amphibianoids.  In this sample chapter, Davalon and the Telleron tadpoles, along with the Earther farm couple, the Morrells, who have been transformed into adults in child-like bodies, have made contact with a native lizard-person, a little lizard-girl named Sizzahl, and are trying to help save the dying planet of the lizard people.  Galtorr Prime, the dying world the Tellerons accidentally arrived at, is war-torn and nearly stripped of its livable environment.  Sizzahl is a child prodigy and is working inside the Bio-Dome of her late parents to try to solve the environmental crisis and save her planet.

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Canto Twenty-Seven – In the Bio-Dome

The delicate creature was four-legged and long-necked.  It looked a lot like Bambi to Alden if Bambi had been a reptilian creature with hexagonal violet-colored scales all over it.  It had large indigo eyes that made it look fawn-like and vulnerable.

“It is called a zhar-doe,” said Sizzahl sadly.  She was standing next to Alden and Gracie with the creature in front of them.  She reached out and stroked the side of its Bambi-like head fondly.  “It is the last of its kind, and when it dies, its species will be extinct.”

“Is Zahr-Doe its name?” Gracie asked.

“It is the species.  Why would you give it a name?  When we had vast herds of them, they were a domesticated food animal.”

“Will you eat this one?” asked Alden.   He still had his hands clamped over his private parts, but he reached out with his left hand to touch the thing’s velvety-soft ear.  It was an exquisitely beautiful creature.

“Only if it is a last resort.  It is too beautiful and precious to be butchered without great need.”  Sizzahl was petting the creature tenderly.  Hard to believe it didn’t have a name already.

“Is there no way the species can be saved?” asked Gracie, stroking the creatures neck with both hands.  Alden had loved Gracie since the moment he had first met her, but now, looking at her standing in the Bio-dome’s artificial forest of dying trees and plants petting the Bambi-thing, he noticed how lovely she looked as a completely nude young girl in the middle of a browning pastoral setting.  He was attracted to her in spite of the fact that her body was now a child’s body, but it was so much more than that.  Gracie’s simple, loving concern for a gentle creature of another world… well, it was looking more directly at what he knew to be Gracie’s soul than he had ever done before.

“I have the cloning technology at my finger tips,” said Sizzahl.  “This place was my parents’ attempt to save our natural world from the predations of the greedy and ruthless creatures that dominated our society.  But, the question becomes, should we save the species by cloning it if we cannot feed it and the new creatures will only starve, suffer, and die?”

“We brought you the plants you needed, didn’t we?” Alden asked.

“You did.  I thought being on the space station would protect those plants and I could bring them here to grow new food sources.”

“Is something wrong with the plants?”  Alden shivered, not with the cold of being completely naked in an alien place, but with a sudden fear that he already knew the answer to the question.

“They are all blighted and dying.  I asked the Tellerons to verify it with the instruments, but I’m nearly certain.”  Sizzahl was actually crying.  Alden saw tears in her snake’s eyes.  It was difficult to comprehend a lizard-person crying, but the little-girl alien was so human-like as she was crying…

Gracie, bless her Iowegian heart, wrapped both her arms around Sizzahl and held her in a comforting hug.

“My goodness, girl,” Gracie said, “You are warm and soft to hug.  You are more like us than the Tellerons are.”

“My people are warm-blooded just like yours.  We are not really reptiles, you know.  We are more saurian… like your birds or your dinosaurs on planet Earth.”

“How do you know so much about Earth?” asked Alden.

“Well, I am a genius among my kind.  I have what you would call an I.Q. of about 195 in the terms of your science on Earth.  Besides, the alien visitors that used to come to our world, like the Sylvani or the Zeta Reticulans have brought specimens of your people here for study and to perform certain special tasks that aided in their off-world agendas.”

“Earth people have been to your planet before?” asked Gracie, cuddling the lizard-girl close to her warm heart.

“Oh, yes, and I imagine some of our people have been taken to your world too.  The governments of both our planets have been contacted long, long ago by space-faring races.”

“Really?”  Alden was skeptical.  Walter Cronkite and Bryant Gumbel never said anything about aliens contacting the government.  “Why haven’t we been told about this?”

“Judging by your television broadcasts, I believe your government believes the average person is too stupid and easily upset to comprehend the truth.  Our leaders were like that for many years before your leaders even were told.  There will come a crisis point one day, though, that people will have to find out.  Here it came shortly before we started to destroy ourselves with unending war for profit.”

“You are going to save your planet, aren’t you, Sizzahl?” Gracie asked, suddenly seeming alarmed.

“I don’t know.  Sometimes I think they are not worth saving.  Sometimes a people on a planet can become so self-centered and terrible that they don’t deserve to survive.  The alien visitors gave up on us a few years ago and left.”

“We are alien visitors,” said Alden, “and we aren’t giving up on you yet.”

“You are not afraid I might eat you or take advantage of you?”

“Of course not,” said Gracie.  She patted Sizzahl on the back in a way Alden knew was meant to be reassuring.

“I do want to take advantage of you, though.”

“Oh?” asked Gracie.  “How?”

“Your DNA is somewhat compatible with my own.  Not yours, Grace, because you are a simuloid now, not a real person.  I want some of Alden’s DNA to use to make a fusion race, half Galtorrian, half Earth human.”

“You mean you want me to make babies with you?” Alden gasped.

“Not the way you think.   I want to make them in a sealed jar and grow them in vats.  I will just need samples of your blood and tissues.  It doesn’t even need to hurt.”

Alden felt a bit shaken.  Could he do that?  Or was Sizzahl right to suggest her people deserved to go extinct?  And what did she mean when she suggested Gracie wasn’t real?

At that moment, Davalon and Tanith came in looking sad.  Both were naked.  Both were holding each other’s hands.

“We have bad news,” said Tanith.  “The plants we saved from the space station are all diseased according to the instruments.”

Sizzahl only nodded, then buried her scale-covered face in Gracie’s shoulder to cry more loudly.

*****

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Filed under humor, NOVEL WRITING, Paffooney, science fiction

Art Self-Edited

I have been working at illustration and drawing for the majority of my life, but it took computer technology and digital photography to allow me to maximize the use of my abilities.  Let me go through a couple of case in points.

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The Red-Haired Girl picture is a good example of what I can do.  I originally drew the picture to illustrate a Charlie Brown poem.   Here is the poem if you don’t remember it.  (A convenient excuse to re-post something and fill this post with words already written.)

Little Red-Haired Girl

You never told her that you loved her, Charlie Brown

That little red-haired girl, so cute, so nice

You only looked and looked from afar

You never told her that you loved her, Charlie Brown

You could’ve held her hand

You could’ve walked her home from school

You never told her that you loved her, Charlie Brown

She never got your Valentine

At least, you forgot to sign your name

You never told her that you loved her, Charlie Brown

No hope of marriage now, nor children for old age

Happily ever after has now long gone

You never told her that you loved her, Charlie Brown

Now every love poem is a sad poem

And the world is blue and down

You never told her that you loved her…

You never told her that you loved her…

You never told her that you loved her, Charlie Brown.

You may not see what I did without looking at the two pictures very closely.  The better, more brightly-lit photo is not the answer.  I originally created the Red-Haired Girl as a Charley-Brown-y creation complete with a bigger than natural head, a Charley-Brown head.10305044_602428713227020_8427155857664240183_n

I have ulterior motives for my evil cartoon manipulations.  I like this image I have created very much, in fact, one might say that I have fallen in love with it just a bit…  Pygmalion-like.  I wanted to use the image to illustrate Anita Jones, a character from my book Superchicken.  Anita is the fictional re-imagining of a girl that I had a deep and abiding crush on (possibly still existing today, though she is now a grandmother in real life.)  She is literally my little red-haired girl.  So what did I do?  Look closely.  I lovingly shrank her head.  Yes, like the headhunters of old, I used the paint program on my computer to shrink it, re-attach it, and make it more human-like.  Realistic proportions, though only a very slight change by actual percentages, make a realistic difference in how real the viewer perceives her to be.

I know you probably think I am full of goofy-gas to make such claims.  If you don’t see the difference in the first example, perhaps you will see it here.  Compare these two David Copperfield pictures carefully.  Look at Little Emily’s head.

David C David C2

You don’t have to believe me, but it does make a difference.

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