Values and gradient maps. I'm thinking about rotating the whole thing 90 deg clockwise. The tringle shape in the middle would more of a Frank Frazetta 'power' triangle with the top being lightening sparks in the skelly hand. Ya? I'd love some feedback, especially about the whole idea of out-of-place characters/objects in normal environments.

So, the square shapes I want pretty sequential and desaturated in color. There should be some contrast in the cop and truck scene by the foot I'm thinking. These large shapes help to separate the composition to make it readable and give more focus to the scale. One thing I'm not really happy about is the character controlling the skeleton. The scale of that char is already off I think. I'm trying to find a balance of visibility for that character and space for the skeleton to take up.

I decided to write out a backstory narrative for the Golemwalker character. I don't think it'll be super long or anything. Here's the first part and I'll probably finish it up with a second part tomorrow.

Backstory: Unmovable at a downtown intersection, rigid against the Marriott high-rise, is a still and seated human skeleton. From the bottom of it's pelvis to the top of it's skull, booming well above the 16th floor of it's seat, is scaffolding and abandoned equipment. Contrasted with the rusted railing and dilapidated drapes were blinking sensors and cameras throughout the body while a heavy looking sphere hung midway down the skeletons' chest.

"How big is it maaam?"

Billy's eyes beam past her nose and down to a snot-nosed-asshole-to-be, as all children were, crowding in front of blinking crosswalk lights with its mother. Traffic shifted as the crowd crossed and the kid, only slightly annoyed at it's mothers' neglect, wiped the glazed booger beard off his face and clasped his moms' hand before hopping up the streetcurb. A rare half chuckle from Billy before making her way to the top of the Marriott hotel.

A few years ago, the skeleton appeared in downtown Austin surrounded by coiled static and powdery fog that effected a four and a half block circumference. After the initial snap of lightening and the rolling grumble that followed, the skeleton sat, leaned against the hotel, head tilted up and into the sky, inert. Back then, a short distance down the same block, Billy and her family were munching on an assortment from Ken's doughnuts and now she stood in a museum, atop a hotel, dedicated to this phenomenon. Centered in the museum are plaques with the names of people who disappeared in the area surrounding the skeleton at the moment of it's arrival. Above the plaques are maps of differing orientation with lists of the estimated amounts of vanished animals and insects. Billy traced the plaque of engraved names until she came to her father, mother and big brother. She remembered setting opposite her family on a patio outside Kens when the sound fractured around her. Doughnuts fell to the pavement in place of her family and the air froze in front of her.

Backstory cont: Arrows taped on the museum floor marked the intended flow of traffic and led Billy to a new balcony where opened locks lined plexiglass windows. She found herself in line to touch the skeleton; a backside bone rib that almost filled the balcony opening. Billy started to leave as a docent presented a clipboard to the woman standing behind her. (Oh...huh. It's that kid.) A slight pleasure kept Billy in line so as not to give up her spot to that dumb looking kid.

"It's just a thing...if you or anyone you know were near the area back then..." recites the docent, looking from the woman to the kid and back.

The mother waves him away with squinted eyes. On the clipboard, a federal government logo depicting the regulatory body that deals with all giant skeleton matters flashed toward Billy; the same logo that appears every month on her government checks, her bi-annual medical and psychological tests, as well as government surveillance waivers. Now in front of the rib, a permissive draft bloomed into the balcony opening.

"Maam, I want a turn already," the dumb kid spits past his crusty mouth while his maam gestures Billy toward the rib.

The crackled, porous material blended into smooth bone under Billy's hand but in place of rib was skull. Her hand between two caverns that extended beyond her vision. A kaleidoscope of cosmic scale; galactic nurseries, collapsing stars, sandy shoals from unknown places now projected from where the skeletons' eyes would be and through Billy's mind. At once, but still outside of time, everything in the expanding universe was known and seen by her and then was gone. Primordial elements and swirling symbols in constant conflict receded. Visions of her family cast across spacetime began to fade.

Encased in shadow, Billy pulled up her phone light to see a concave wall on one side and an opening on the other. She stepped up to the moonlit bone and, looking first down the skull and then the length of the standing skeleton, studied farmland, far away from the city. From the eye socket, she lifted her hand to the glistening cosmos as the skeleton mimicked the motion. Lightening darted around the bony hand and Billy became familiar with the nature of the skeleton; pulling her into a war of elements while she struggled to remember the visions of her lost family. While the air stalled, a visceral stretching anchored Billie and aimed her in a direction; a map. They were gone.

Some more sketching today. Thinking about Billy's look and other pose ideas. I'm almost happy with the painting I've done on the main composition.

So I've been thinking about painting a carved lightening symbol in the skull. A lame place to put it? I dunno. Also, I'm still not sure how I'm gonna crop it. With/ without black bars?

Beautiful rendering on the skeleton, although I'd say actually the landscape variant of this piece works better. It's already a very tricky perspective, and having it viewed like that on the bottom it doesn't read as well or immediately like the landscape one. Just my thoughts though, I love the idea and like I said it's really beautifully painted so far

Thanks! Ya, I see how the vertical version complicates the shapes too much. I get bogged down thinking too much about perspective. After the first lineart, I thought about going back to do some fisheye stuff lol.

You could always experiment, fisheye might enhance it considering how close the camera must be to be viewing the creature at this angle regardless. So I'd say give it a go! If it doesn't work you can always go back to this again

I'm all about giving it a go. Still have a week or so I think. Thanks for giving my posts a look through. I'm wowed by the creativity I'm seeing on everyones' posts.

Interesting angle. I like the splashes of color you put in the eye and around the cars.
Have you thought about putting a light source inside the rib-cage?

Ooo, didn't think about this. A big light would look cool coming from inside the ribcage. Bright rim lighting around the ribs. Maybe more lightening there like an engine gathering fuel or something. Did a quick values pass.

The rendering on that skeleton is fantastic. I'm excited to see how the rimlight effects it

Thanks! I put something together today. I'm working on some more subtle gradients now to adjust colors. Might desaturate just the background for the finished one. Also, I'm feeling like the lightening engine in the chest is too much? Hmm.


If you do want to tone it down without loosing what it brought to the piece, you could opt for a softer light with a more contrasting hue. That should allow you to showcase the inside of the rib-cage more.

test:

I used went for a yellow tone, since you already had it in the eye-socket. I think you could (I you wanted to) go for something like this and then add those effects you already had. Ultimately, I think the brightness of the chest-light comes down to personal preference.

Looking great, keep it up!

I did play around with the idea a lot in painting but still couldn't get it right in composition. As far as the character mechanics go, the chest light from an engine is really awesome. You can submit two pics for final entry. I wonder if that's for character sheets or maybe mechanics that turn on/off or the like?