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| Albertsson, Amanda | http://pictorsuperfuit.blogspot.com/ |
| Aldrich, Melissa | http://des331atbuffalostate.blogspot.com/ |
| Lee, Sooja | http://lees93.blogspot.com/ |
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| Pontillo, Vincent | http://cuagmetals.blogspot.com/ |
| Rapp, Dorothy | http://drapplog.blogspot.com/ |
| Stew, Glen | http://glenstew.blogspot.com/ |
| Timmins, Rachel | http://racheltimmins.blogspot.com/ |
| Verrastro, Aric | http://aricverrastro.blogspot.com/ |
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See you space cowboy....
This drawing shows the head without the mask, then two with it. The mask will actually be a double mask. There will be a human-like mast on the front of the face with one eye being a monacle. The importance of this monacle is that it serves a point to the greater meaning of the piece.
The mask itself is supposed to represent the shamanistic mask. It's a mand-made mask worn by shaman in order to perform a ritual or tell a story. This practice exists across the globe, and odds are, all of our roots started with a similar ceremony. The cyborg eye (monacle) is serving the point, to me, of representing the shaman's vision. Shaman are said to see the world in an entirely different way. Usually in bright colors, shapes, and supersensativity to details around them. This is why they are generally called excentric. Honestly, I believe that all artists are shaman because the world comes through sensative eyes. For example: Glen. I was outside with Glen one day, and he made an interesting sculpture or two out of pinecones and feathers. Most people wouldn't see that, but he did. That's the shaman's view. So the monacle is the eye in which the shaman views the world. There was also be integrated piercing work done in copper near the forhead. The way I plan on integrating and transitioning the metal to the soft, silicon mask is by casting in place. I will cast the metal pieces to appear to be coming through the skin.
The most interesting part of this mask, to me, is the fact that it's actually two masks. One mask sits on the top of the models head, the other on the front. They will be connected together and held on by hidden elastic straps. The model will come out on the runway on two legs, showing his human face. He will then end up on all fours and look at the audience with the top of his head. He will actually be looking at the ground, but the mask will make it appear as if he's looking at the crowd out of a new mask.
The purpose of this is to tell the common shamanistic story of the shaman's transformation from human into beast, which is a common belief by shaman all over the world.
Now here's some reference pictures I've used.
These are traditional shaman masks:
Ultimately, this tecnhique comes down primarily to finishing tecniques. Here are some letters from two other signs that I made. The blue and green letter is from a Bathroom sign, and the red and orange are from a Police sign. Painting, sculpting, and texturizing makes the difference. Without those, you might as well make a 2-dimensional sign.
After working for Frightworld for one season, I was dually promoted. I will be managing Return of the Mummy's Curse this season, but I am also lead designer for many of the new additions being added to the building. I've spent about a month working on new add-ons, many of which I can not really share yet. This friday (September 18) Frightworld opens, and I will share all of my secrets. Until then, here's something that I'm proud of.
Part of my job as a designer is also a detailer. This means that I focus on little things within houses or other public areas to make them more realistic and just a tad bit scarier. One of my major tasks this year was to detail a large animatronic beast called The Slayer, which was originally designed by Scare Factory. We keep him on the roof right above the entrance to be a terrifying welcome to visitors. The weather has taken its toll on The Slayer, so I had to fix him up. Here's some pictures of my work.
Specifically, my task was to paint the slayer along with repair touch-ups. I did it with airbrushing, and it worked out decently. I put more focus on his bone structure to give him more of an emaciated appearance.
Here's a video of us moving him in the building. He has to be moved with an industrial fork lift because of his weight. He's about 8 feet tall, and has a solid steel frame. He's animated by neumatics in which he takes different positions, moves his head around, and moves his arms.
