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(via cyspixels)

Source: sniisel


Dota 2 Workshop: Selemene’s Return

Photo Set


 ’Mukashi Mukashi’ & ‘A New Tenant’

I was asked to contribute to the Heroes in A Half Shell: A TMNT Tribute Exhibition for Gallery Nucleus, which will be opening this Saturday.

I thought it would be fun to show Splinter and crew with Shredder’s vanquished helmet, only kicking it back to the feudal age of Japan it’s based off of. No mutations and a samurai helmet.

I grew up with the 90’s TMNT and finding out that the new Krang was no longer the campy robot kangaroo pouch with alien brain baby left me nostalgic. It felt like Krang had left his out dated model back in ‘87 for a shiny new ride, and I couldn’t help thinking it’s probably still sitting around somewhere collecting dust, overgrown with plants.

Source: sachinteng
Photo Set
Photo Set


Decided to make some donuts on my break from work… I love the simple chocolate raised, so I did that. Mmmm.

I really wished they were real. 

Source: coke-n-icecream


Polypheme and Odyssea, my combatants for Jenn Woodall’s FIGHTZINE, featuring an all-female cast of fighting game characters. These ended up being closer to Dark Souls enemies (maybe my Ornstein and Smough), but hey. 

I picture these two as invulnerable from the front and weak to the rear, with Polypheme’s shield and spear, and Odyssea’s gun keeping the player at bay. I imagine you’d get a few seconds to wail on their weaker side before being skewered on Polypheme’s flaming trident and hurled across the screen.

I knew I wanted to do a pair from the beginning, but I couldn’t really figure things out. I tried out some stuff with a tandem bow, one holding and aiming, the other drawing back the arrow, but visually it didn’t work. Things didn’t really develop until I drew Polypheme’s giant shield, and even then, it wasn’t until the shield became a face with a mouth that the pair clicks. The shield became a cyclops later, after looking at some Indian puppet masks, I think. She became Polypheme, and the other became Odyssea. The trident was a sword originally, but, Polyphemus, being the son of Poseidon, already has a link to the trident. The flaming part of the trident is a small nod to the flaming wooden stake Odysseus uses to blind the cyclops. 

I have a big reference folder full of matchlock guns from different time periods, culled from a few trips down the ol’ Google images rabbit hole, so that popped up. It seems mindlessly scanning Google images or Tumblr or whatever would just be a timesink and nothing else, but you never know. It pays off to keep track of the things you find visually stimulating, just in case.

These are two disparate examples of how I design characters — sometimes a lot of narrative choices go into the character, like in Polypheme, and sometimes it’s just a collection of interesting shapes, patterns, etc, like with Odyssea. The first is active, where I’m trying to fulfill some mental picture, the second is reactive, where I’m building the narrative after the shapes come together. They both have their merits.

I’m happy to add this piece of tonal dissonance to what is otherwise shaping up to be a very fun zine.

Source: sbosma
Photo Set
Photo Set
Photo Set

So in order to gauge the anticipation of Japanese audiences in a true AwesomeRobo fashion, we headed over to the Japanese art communities to see how things were going from a fanart standpoint. Overall we found quite a cool few pieces dedicated to Godzilla 2014, as he’s being referred to overseas

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Ricken really caught our attention as a Japanese artist enamored with western comics. So much so that he’s had the chance to work for the likes of DC Comics as a cover artist on a series of different franchises, ranging from Birds Of Prey to Batman Incorporated.

While so many artists have over time found themselves influenced by anime, it’s really cool to see the exact opposite- a Japanese artist working hard to emulate a western style with his work.

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Photo Set

Moody, neon lit skies illuminate retro vehicles blazing through the streets with a visual flair that evokes the likes of Drive and 70’s/early 80’s era illustration aesthetics. While some of the pieces appear to be digitally illustrated, Oriol also mentioned that he likes painting with acrylics on wood boards, which give his pieces a textural quality that’s quite difficult to replicate on a PC.

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