Not sure if I mentioned this or not, but there's an ongoing round-robin story going on at the Clockwork Alchemy website, The Codex of Quills! My episode is the current one up, #4. Here's a summary so far:
A steampunk serial adventure with a new author every episode!
Hot. Smoky. Irritating. Any or all of which could pertain to the wildfire-permeated valley air, or the mélange of personalities on the bus. Or the perfect description of Kilpatrick’s commute from the cubicle farm to the coffee house off the freeway.
Cold Brew. That’s all I need. Thirty ounces of caffeinated goodness with just a pirouette of cream will erase Monday and make everything better.
Please just get your drink. I have a date with destiny…or insanity…and I really need a cold brew. “Super Mondo cold brew, um, please.”
The woman who had just ordered rocked back on the heel of her ankle boot and commented, “Super Mondo is a good choice. You’re going to need the caffeine for what lies ahead.”
Kip tentatively opened his eyes and peered around the shop. Only, it wasn’t the bookstore. Instead of the marine cryptobiology section, the shelves displayed rows and rows of lace, some slightly singed at the edges. A large quantity of star charts and compasses replaced the teen romance. Strangest of all, by far, was the old person giving Kip a pointedly annoyed look. The eyes peering out from behind their shiny spectacles looked like goat eyes. Small antlers sprouted from their head and when they opened their mouth to speak, Kip spied sharp teeth like a cat.
“Young creature, I do say! I did not request any messengers this day. And your friend has damaged some of my lace!”
“This the right grave?” Kip eyed the blockish monument; most of Highgate Cemetery was a gothic tour through Victorian willies, weeded to ruins and taking his calm with it, but this imposing rectangle and dour, bearded bust were clean, had fresh flowers, and bore the improbable name KARL MARX. “Seems … I dunno, too high school econ—”
Lieneye the pony snorted, as if to neigh, Are you doubting me? Extrapolating from the rules for talking animals—don’t piss them off—Kip thanked the diminutive steed and dismounted. He barely had to lean before his foot hit flowered gravel.
We're the first panel, at 10am Saturday, and our panelists include:
Laurel Anne Hill [Moderator]
Laurel Anne Hill—author and former underground storage tank operator—grew up in San Francisco, with more dreams of adventure than good sense or money. Her close brushes with death, love of family, respect for honor and belief in a higher power continue to influence her writing and her life. She has authored two award-winning novels: The Engine Woman’s Light (Sand Hill Review Press), a gripping spirits-meet-steampunk, coming-of-age heroic journey, and Heroes Arise. Laurel’s published short stories and nonfiction pieces total over forty. She has served as a program participant at many science fiction/fantasy conventions, including the World Science Fiction Con and World Fantasy Con. She’s the Literary Stage Manager for the annual San Mateo County Fair, a speaker, writing contest judge, and editor. And she’s even engineered a steam locomotive. For more about her, go to http://www.laurelannehill.com.
Madeleine Holly-Rosing
Madeleine Holly-Rosing is the writer/creator of the award-winning Boston Metaphysical Society graphic novel series. Previously self-published, it is now published by Source Point Press. The series also includes the award winning prequel novel, A Storm of Secrets, and an anthology. After running eight successful crowdfunding campaigns, she published the book, Kickstarter for the Independent Creator. Other comic anthology projects include: The Scout (The 4th Monkey), The Sanctuary (The Edgar Allan Poe Chronicles), The Marriage Counselor (Cthulhu is Hard to Spell), The Glob (Night Wolf), The Infinity Tree (Menagerie: Declassified), and the upcoming, The Birth (Stan Yak Vampire Anthology).
Michael Tierney
Michael Tierney writes steampunk-laced alternative historical fiction stories from his Victorian home in Silicon Valley. After writing technical and scientific publications for many years, he turned his sights to more imaginative genres. Trained as a chemist, he brings an appreciation of both science and history to his stories. His latest novel is Mr. Darwin’s Dragon. Visit his blog at www.airshipflamel.com.
Anthony Francis
By day, Anthony Francis teaches robots to learn; by night he writes science fiction and draws comic books. Anthony’s best known for his Skindancer urban fantasy series of novels including the Epic eBook Award winner Frost Moon and its sequels Blood Rock and Liquid Fire, all following the misadventures of magical tattoo artist Dakota Frost trying to raise her weretiger daughter Cinnamon in Atlanta.
Anthony also writes the Jeremiah Willstone steampunk series, following a young female soldier in a world where women’s liberation happened a century early – and so, with twice as many brains working on hard problems, the Victorians invented rayguns and time travel. In addition to her debut novel Jeremiah Willstone and the Clockwork Time Machine, Jeremiah appears in a dozen other stories, including “Steampunk Fairy Chick” in the UnCONventional anthology.
Anthony is co-editor of the anthology Doorways to Extra Time and a co-founder of Thinking Ink Press, publisher of the steampunk anthologies Twelve Hours Later, Thirty Days Later, and Some Time Later. He’s the artist of the webcomic fanu fiku and he’s co-author of the 24 Hour Comic Day Survival Guide. He’s participated in National Novel Writing Month and its related challenges over 20 times, recently cracking one million words written in Nano.
Anthony lives in San Jose with his wife and cats, but his heart will always belong in Atlanta. To learn more about Dakota Frost, visit facebook.com/dakotafrost or dakotafrost.com; to learn more about Jeremiah Willstone, visit facebook.com/jeremiahwillstone; to learn more about Anthony and his appearances, visit his blog dresan.com.
Masego from his amazing one-take performance on "Tadow" with looping artist FKJ. How did I do? Eh, meh, it looks like I dented his face in compared to the original.
As usual, I missed the ~3 degree tilt of the head, and while dude is thin, I gave him a giraffe neck because I stopped measuring when I got to the shoulder section. Sigh.
Quick Sharpie sketches of the Doctors. Some came out better than others, but it gave me practice drawing 13 faces quickly, without the luxury of obsessing over each one.
... came up as my wife and I were discussing the "creative hangers-on form" of Stigler's Law. The original Stigler's Law, discovered by Roger Merton and popularized by Stephen Stigler, is the idea that in science, no discovery is named after its original discoverer.
In creative circles, it comes up when someone who had little or nothing to do with a creative process takes credit for it. A few of my wife's friends were like this, dropping by to visit her while she was in the middle of a creative project, describing out loud what she was doing, then claiming, "I told her to do that."
In the words of Finn from The Rise of Skywalker: "You did not!"
In computing circles, the old joke referred to the Java programming language. I've heard several variants, but the distilled version is "He thinks he invented Java because he was in the room when someone made coffee." Apparently this is a good description of how Java itself was named, down to at least one person claiming they came up with the name Java and others disputing that, even suggesting that they opposed it, claiming instead that someone else in the room was responsible - while that person in turn rejected the idea, noting only that there was some coffee in the room from Peet's.
Another rushed day, another quick sketch from memory fail. Despite having drawn Capaldi like 4 times in a row, when I try drawing without reference it just doesn't look like him. The above is day 161; below is day 162, when I decided to focus on just eyes. Again, I'm doing quick Sharpie sketches to force me to focus on shapes and proportions, where my biggest flaws are, rather than fine details of rendering.
Now that's better. Tilting the page, pencil roughs, and measurements of the face were critical here to getting the drawing better - though, even with careful roughs, I did that weird thing where one part of the face lines up and the other doesn't, causing a dent on the right side of the page when compared to the original below:
Still, it doesn't line up too terrible:
I see a couple of places that need work, particularly my measurement of jawlines. Or, looking more closely, picking which line to emphasize in the jawline.
Wow, this quick Sharpie sketch of Peter Capaldi from memory was a complete fail. I was trying to save time so I can crash early, but the Twelfth Doctor here ended up looking like a bad extra from Aeon Flux. Comparing to yesterday's reference shot (which I did not use, but nevermind) you can't make them line up, but if you try, the features need to be squashed about 80%, the hair about 90%, and the neck, well, the neck is a caricature and is not fixable by any amount of warping:
Oh well. Back to reference drawing (or leaving myself more time).
Now that's Peter Capaldi. Pencil roughs with Pilot V5 and Sharpie outlines (and erased with a Pentel Clic Eraser, not a 25 year old pieces of Bellcore swag). Let's see how I did:
Not completely terrible, and it even mostly lines up:
Much better than my first attempt, where that Bellcore eraser did me wrong:
Halfway into the roughs of a drawing of the Twelfth Doctor, I had a terrible eraser accident. I'd grabbed a random pencil out of a jar and, while the graphite was good, apparently the eraser had gone bad, leaving a horrible splotch of pink-orange across my page. The pencil is labeled "Bellcore" which, based on either my own personal history of when I might have acquired it OR when Bellcore ceased to exist by that name, means it's around twenty-five years old. Apparently the erasers in #2 pencils that are really old can dry out, causing the problems that I had tonight. Oh well.
Still drawing every day, maybe just not always erasing.
A couple quick ink sketches (Pilot V5, no roughs) because I'm on vacation, damnit. Above, Day 155, a quick sketch from memory of my earlier drawing of Neil from Tenet. I wonder how well I did - probably, poorly - but I'm not going to concern myself with comparisons today, I want to crash early.
Below, Day 156, a sketch of Jeremiah from the picture of her on my convention backdrop (same drawing from the Jeremiah Willstone frontispiece and website). No roughs again, which made it tricky, but even though this drawing is sloppier than the original, I see things that I've learned from the Drawing Every Day exercise that could help me improve these kinds of drawings in the future.
Super quick Sharpie sketch of Alphonse Mucha's Spring, no roughs at all, with my wife watching over my shoulder while I quizzed her about titles for a new Jeremiah Willstone novel (we settled on the provisional title JEREMIAH WILLSTONE AND THE FLOATING GARDENS OF VENUS).
As for the drawing, the individual parts came out OK, but I gaffed the relative alignment of the falling hair and eye on the left side of the face (on the right side of the drawing) and the whole thing ended up lopsided compared to the original:
There is no way to make that hair or jaw line up right, but the face itself isn't terrible:
As it says on the tin: my wife and I went for a long walk, which we normally do at the very end of the day just before I hit the hay - and then I realized I hadn't done my drawing. So you get a quick sketch.
Drawing every day continues, hopefully with more rendering, tomorrow.
Quick sketch of a model from a sale on the Dell website (which I can no longer find). Roughs in pencil, sketched with a Pilot V5, no rendering to speak of. Let's see how I did:
Not entirely terrible, and I'm getting better at overall proportions in the face, but I am consistently tilting faces - this time roughly 3-4 degrees - and the further I get from the face the worse the proportions are. There's no way to line up the hat and the face simultaneously due to the tilt, and I completely lost the script on the arm angles, though the outlines of the arms aren't entirely terrible.
Reflecting on the past, seems like the angle of the page is less important for the squashing phenomenon than just paying attention to distances, as this was a sketchbook-in-the-lap drawing, and by consciously looking at the sizes of things (and using construction lines) I kept it together.
Welp, more work to do on the broader landscape - and that dang tilt.
And with this, my posts have caught up with my drawing every day.
Yesterday's sketch (pencil roughs and rendering and all) of Brad Pitt from Moneyball. I dunno, to me this looks more like some other actor auditioning for the Joker. "Do you want to know how I got these scars?" Let's see how I did (this isn't the precise shot I drew this from - I was flying, and sketching off a frozen screenshot of Moneyball - but it is close) compared to the original Billy Beane:
I still don't like the drawing, but the proportions aren't too bad. I was about 7 degrees off on the tilt of the head, but the relative positions of the features and hair and even shoulders - everything except the shirt collar - more or less line up with the face. The real problem is I crushed his right cheek (the left side of the picture) which apparently destroys the "bradness" of his face. Also, the eyes are bit off - he was very squinty in the screen still I used, hard for me to render in the near-dark of the plane.
Well, getting caught up. One more drawing to upload after this.
Drawing every day.
-the Centaur
Quick Sharpie sketch of another scene from Shadow in the Cloud. I have to turn in early, so this was quick as can be, but I put special focus on trying to get the proportions right and paying attention, if not to the angle of the sketchpad per se, the distances between pieces. Let's see how I did:
As usual, I missed a couple of degrees of tilt, but I really only had to scale this, not squash it. The mouth was too narrow, the nose too low, and the hair too narrow, but otherwise, not too off the mark. I tried squashing it to make sure, but no, this is about as good as it gets. Construction lines I think would really help with the nose and mouth, as it's hard to get the proportions right on the first try; the width of the hair and the scarf would have been salvageable if I'd kept up the feature size comparison I'd done on the cheek (roughly, her head height is about five foreheads, and facial features are three forehead heights wide; but the hair extends far more than I measured, as does the scarf).
Yesterday's sketch (pencil roughs and rendering and all) of Brad Pitt from Moneyball. I dunno, to me this looks more like some other actor auditioning for the Joker. "Do you want to know how I got these scars?" Let's see how I did (this isn't the precise shot I drew this from - I was flying, and sketching off a frozen screenshot of Moneyball - but it is close) compared to the original Billy Beane:
I still don't like the drawing, but the proportions aren't too bad. I was about 7 degrees off on the tilt of the head, but the relative positions of the features and hair and even shoulders - everything except the shirt collar - more or less line up with the face. The real problem is I crushed his right cheek (the left side of the picture) which apparently destroys the "bradness" of his face. Also, the eyes are bit off - he was very squinty in the screen still I used, hard for me to render in the near-dark of the plane.
Well, getting caught up. One more drawing to upload after this.
Drawing every day.
-the Centaur 
