I have had a practically life-long fascination with trains. Where did that come from? It came from a Methodist minister who once upon a time saved my life.
Reverend Louis Aiken (in the cowboy hat) was a lover of HO model trains, as well as country music… and, of course, God.
My best friend growing up was a PK, a preacher’s kid. And as we hung out and played games and got into imaginatively horrible trouble, we invariably wound up in the basement of the parsonage where his father kept his HO train layout. I learned lessons of life in that basement in more than one way. I have to explain all of that somewhere down line. But for now, I have to limit the topic to what I learned about trains. They are a link to our past. They are everywhere. And they do far more for us than merely make us cuss while sitting and endlessly waiting at the railroad crossing.
When visiting Dows, we absolutely had to stop and take pictures at the train station.
This is, by my best guess, an SD40 locomotive parked at the restored train station in Dows, Iowa.
Spotting trains to take pictures of, gawk at, and totally make cow-eyes over has become a way of life to me. When visiting Iowa, especially Mason City, Iowa, we always have to stop at the engine on display in East Park.
When I was a kid, this old iron horse was not fenced in to protect it from kids, weather, and other destructive forces. Now, however, it is fully restored and given its own roof. This is a 2-8-2 steam engine with two little wheels in front, eight big wheels in the middle, and two little wheels at the back (not counting wheels on the coal tender). I have ridden on trains pulled by such a behemoth. I love to watch the monkey gears grind on the sides of the wheels forcing steam power into the surge down the tracks. And I can’t help being a total train nut. Of course I don’t deny being more than one kind of nut. But being a mixed nut is another post for another day.
Here 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.
I began this post with a very excellent video that you probably will not watch, but I found it fascinating and it, in fact, inspired everything I want to talk about in this post. It is about the AI art programs that are running amok in the art world. I am, after all, an artist. Specifically, I am a storyteller and cartoonist. I know how to draw. I can prove it.
Here’s the proof. This is an original oil painting that I did in the 1980s. The only tools that I used to create this picture are a set of oil colors in tubes, a painter’s pallet, three different sizes of sable brushes, a pencil, and a magazine picture of a Vietnamese boy’s face. This was done at the height of my skills as an artist. But I also have to admit that I was diagnosed with arthritis in 1974 after painting the family home’s exterior. Now, 49 years later, the length of time the disease has been gnawing at my joints, I don’t quite have the same sophistication and ability as an artist, a creator of images. That is why digital art tools have been such a boon to me.
This is a colored pencil drawing I created in the 1990s. It is modeled on a young Hispanic boy who lived in the same apartment complex as I did. He was not green. At least I don’t think my color blindness was that bad back then.
I loaded the original drawing into the Drawing Pad digital art program. I put a layer on top of it in my touchscreen phone. I then basically traced the original drawing using the digital stylus that I bought to use in place of a pencil, pen, or paintbrush. I used it in pen mode first to draw the outline. You can see how much it was simplified. This made it easier to do on the small screen I had available on the phone despite my arthritis. I then used the stylus in watercolor paintbrush mode to color in the face and hair. I changed the eye color so I could do the eyes more consistently with a manga-cartoon style of softening levels of color. It gives it a more liquid and realistic look.
So far, I have shown you proof that I can draw well even now with the arthritis affecting my fingers.
Now let’s talk about the Artificial Intelligence programs that have been released into the internet to eventually take away the rulership of this planet and keep us monkey-people in zoos for the amusement of the computerized mega minds that will replace us as the dominant force of civilization on this planet.
AI art programs like the infamous Dall-E programs allow you to write a short description of the artwork you want to see, and the program generates something randomly to fit your descriptors. It pulls from a database scraped from the internet at large, including all the artwork I have posted here on my blog, Instagram, and Pinterest, and adds it all to a dataset that allows it to recognize, interpret, and produce something that conforms to what you have asked for even though it pays no artist any royalties or user fees for drawing from other artists’ artworks.
I promise I will never use an AI program to do that. If you see my name on any artwork like that, then I am dead and being impersonated by an AI entity.
Here is the only way I use AI to aid me in the making of artwork. It is a program called AI Mirror. You give it a photo or a png of an artwork and it redraws it in a specified style.
This is an artwork that I did earlier this year in colored pencil. I was not satisfied with my arthritis-impaired ability on this project. The eyes were too owlish and dark. The lips are too dark and thick. But you can’t erase colored pencils and ink on paper and fix things as easily as you can digitally on a touch screen. So, I used the AI Mirror to correct it.
I used the AI Mirror to fix it in stages like this, simplifying and redrawing it like this first. And then advancing it to this.
This is the finished project, simplified and made more elegant with digital tools.
You can argue that my final product is not better than the colored pencil original. But I like the fact that the AI and the digital tools allowed me to correct what I didn’t like.
The problem with AI art programs, which probably won’t be the ones that outsmart and replace humanity, is that they do so much for you that you are no longer an artist if you use them. So, I guess that I am saying I think that I am an artist, however wrongly, while using these programs because I put the work in both before and after using the AI application. My fear is since nobody sees me as an artist or hears me as a writer anyway, that my art and my stories will be snowed under a mountain of AI generated schlock that is certainly no better than my schlock, and inferior to my best stuff.
I love the fact that I can so easily turn old pen-and-ink drawings like this doodle into a digital art masterpiece. All I had to do is trace the old drawing on the touchscreen with the digital tools available to me now. My electronic stylus and the free drawing app make re-inking the old drawing like a painting. The brush, line, or effect that you lay on the old drawing takes only a swish of the stylus. And it is so much cleaner and more stylish than the old way of inking a pencil drawing with a ballpoint pen.
Take for instance this digital drawing called “The Skinny Dipper.” It begins as a simple drawing filled with color. And then you can layer details over and under, blend in more colors, shapes, and shadows. It can become much more detailed and realistic. I used a photographic background under it, and then continued to make it an original drawing by painting over both the figure and every detail of the background.
And it didn’t stop there. I gave the boy, or possibly girl, a scuba suit to preserve his or her modesty and allow a deeper dive.
I want to talk about a living artist for a change. I know that the artists I have talked about on this goofy blog-that-doesn’t-seem-to-know-what-it-is-really-for, Norman Rockwell, William Bouguereau, Paul Detlafsen, Thomas Kinkade, Fontaine Fox, and Maxfield Parrish, are all quite dead. But conversely that is a good thing because it means their art has stood the test of time. But today I want to plug a working artist I find absolutely fascinating. This is the first artist I ever seized upon as an example of a true master whose chosen medium is primarily digital art.
This is Loish. You can find her at http://loish.net/ or http://http://loish.deviantart.com/. Her name is Lois Van Baarle and she is a Dutch citizen by birth. She has worked as both an animator and a commercial artist/illustrator. She has lived all over the world in countries like France, Belgium, Germany, and the United States, but currently resides back in her home country, the Netherlands. What I find so absolutely engaging about her work is the way she can portray ordinary folk, particularly young people and female people, in luminous digital colors (almost as if she is painting with light… and in fact that is actually what she IS doing), and in such a big-eyed, cartooney way (the way you would expect someone who does animation to do it.) Take a look at all these wondrous creations that I have borrowed from her websites or her Facebook page.
Isn’t that some of the loveliest artwork you’ve ever seen? I know some may not like it, preferring what is more realistic, gritty, hard-edged, or more cutting edge… but I love foofy art of all sorts… goofy foofy girly art… and this is among the best I have ever seen.
I finished my fantasy battle scene started over a week ago. In many ways it was just like a D & D battle fought on the table top with miniatures, a battlefield grid, and dice. It had to happen in steps.
Remember this step? The pen and ink step? That isn’t even the first step. But pencil drawings don’t photograph and reproduce as well as pen and ink.
And then the colored pencil work had to proceed a section at a time.
I basically went character by character, starting with the good guys.
And that is the same way the combat occurs. Shandra the Unicorn Maiden rolled an 18 for initiative on the twenty-sided dice. So she attacked first. She only got a 15 on the attack roll, however, so her wand of silver-fire only did five points of damage, depriving the kobold of one claw arm. The shadow archer (not pictured because he was invisible at the time) had a 16 on initiative and an 18 on attack, so he wounded Sammy the Satyr with a two-point damage from his crossbow bolt to Sammy’s left arm, preventing the young satyr from attacking during the round. Turkoman the Wizard was next, using his wand of fire-bolts to attack the skeleton-ghost, igniting its death shroud and making it drop its magic +2 long sword. You can see both Greebo the Half-orc and the evil beast-thing have not yet taken their turns in the combat. Seriously, a three-round combat seems to take forever in the D & D game.
So. there you have it. My Dungeons and Dragons post for this week is simply an excuse to show off the newest silly drawing I did, brag a little bit, and play silly word-games even more. I hope I didn’t stretch your patience to the breaking point yet again.
I want to talk about a living artist for a change. I know that the artists I have talked about on this goofy blog-that-doesn’t-seem-to-know-what-it-is-really-for, Norman Rockwell, William Bouguereau, Paul Detlafsen, Thomas Kinkade, Fontaine Fox, and Maxfield Parrish, are all quite dead. But conversely that is a good thing because it means their art has stood the test of time. But today I want to plug a working artist I find absolutely fascinating. This is the first artist I ever seized upon as an example of a true master whose chosen medium is primarily digital art.
This is Loish. You can find her at http://loish.net/ or http://http://loish.deviantart.com/. Her name is Lois Van Baarle and she is a Dutch citizen by birth. She has worked as both an animator and a commercial artist/illustrator. She has lived all over the world in countries like France, Belgium, Germany, and the United States, but currently resides back in her home country, the Netherlands. What I find so absolutely engaging about her work is the way she can portray ordinary folk, particularly young people and female people, in luminous digital colors (almost as if she is painting with light… and in fact that is actually what she IS doing), and in such a big-eyed, cartooney way (the way you would expect someone who does animation to do it.) Take a look at all these wondrous creations that I have borrowed from her websites or her Facebook page.
Isn’t that some of the loveliest artwork you’ve ever seen? I know some may not like it, preferring what is more realistic, gritty, hard-edged, or more cutting edge… but I love foofy art of all sorts… goofy foofy girly art… and this is among the best I have ever seen.
In both the books Snow Babies and The Bicycle-Wheel Genius I used the characters of the Magnificent Murphy Clan to weave actual people from my past into my stories. The Murphys; Mary and Warren, Warren’s father Sean “Cudgel” Murphy, Mary’s and Warren’s kids, Danny, Dilsey, Mike, Little Sean, Daisy, Sarah, Thomas “Pumpkin” Murphy, and Baby Jane all live together in a small, four- bedroom house dubbed “Murphy Mansion”.
Here is a look at a Paffooney of the irrepressible Mary Murphy with daughter Dilsey, and Little Sean on her shoulders.,
And here is one of my anti-hero Pirates, Mike Murphy with his little girlfriend Blueberry Bates.
Mike has the distinction of being in all three of my Norwall Novels, a very rare character indeed. And, NO, that doesn’t mean that he is me just because we have the same first name… Okay, maybe a little bit me, but that’s just the nature of writing silly novels about adventures through time and space and farm-town Iowa. I’m hoping to make you curious enough to buy one of my books. Catch a Falling Star is available as a hardback, paperback, or e-book from Barnes and Noble, Amazon, and the link here to I-Universe. But I know you are far too smart for me, and I can never hook you just on the strength of my nerdy humor or my implausible Paffoonies. Here’s hoping a look at the Murphys will help.
I submitted my 2012 novel Snow Babies to a novel writing contest. I learn more about the results November 30th. I have a lot riding on this contest, but the book will get published if I have to print it by hand.
I am a cartoon nut. I read them. I write them. I draw them. Cartoon people have always been more real to me than real people. A friend of mine asked to see what I could do because he wants to create a children’s picture book. I drew Puff in the picture displayed here. I can’t help it. I have to draw when I have the chance. I have had arthritis since I was eighteen. I walk with a cane now, wearing a back brace constantly. I dread the day when I can no longer draw. It is coming too soon. but for now, I have a dragon to help me fight off the coming darkness. I know what you’re thinking… “It should say Puff the Magic Dragon!” but it doesn’t because he is not. There is no magic in the creation. I have spent years practicing and learning how. I can now create cartoons almost at will. I just can’t crank them out on a regular basis, not without my hands hurting. So, I have Puff to hang around with for a while, on my computer, on my drawing pad… He’s a really good guy. He’s just not a magic dragon.
Catch a Falling Star 