Showing posts with label Spider-Man. Show all posts
Showing posts with label Spider-Man. Show all posts

Tuesday, October 29, 2013

Immural

Speaking of murals

Once upon a time I thought it a good idea to offer my illustration services as an item for our kids' school auction. My work is mostly editorial illustration, but with a paucity of publishers and editors among school families, I suggested painting a mural.

I pictured bunnies and butterflies and sunshine for someone's child.

The winning child, or his family, wanted Spider-Man®™ and The Incredible Hulk™© instead.

Oh.

Into the deep end of trademark violation I dove. Again. Instead of asking permission, like last time, I'd ask forgiveness should the moment warrant.

This is the final sketch I used for reference. I decided to place our superheroes high above our city, on a sort of busman's holiday, maybe fighting political crime in the capital. The Hulk©® is after Spider-Man®©, or maybe they're both chasing/escaping the same thing, I don't know.

The Hulk is clinging to the curved glass front of 300 Capitol Mall. Sacramento's iconic Tower Bridge, now painted gold, rises just behind him, spanning the lazy green Sacramento River.

The building that houses a branch of Drexel University and shores up the south end of Old Sacramento is right behind Spidey, with the Capitol Mall rolling by it and Interstate 5 going crossways underneath. On the Yolo County side of the Sacramento River is the ziggurat-shaped building that now houses state offices.

All of this performed without a safety net or the cool tool known as Google Maps®©™. Thank you, you're too kind.
(Aside No. 1: Research took me to many different iterations of Spider-Man®™, who changed proportions and outfit design with each new artist. No other superhero seems so malleable. Sometimes Spider-Man™® looked like the prototypical space alien with  oversized head; sometimes he seemed boneless. I went with a more wiry version over the Everyman shape from the 1960s Spider-Man®© cartoons, and the tendrilous gnarly twhippy web stuff.)
To prepare, I made a cartoon in the original sense, a giant drawing to fit the wall, made of big sheets from the end rolls of newsprint taped together. I blocked out the figures on the sheet of paper, then scribbled hard with dark graphite over the lines from the other side. The idea was to tape the cartoon to the wall, trace over the lines and transfer the image to the wall's surface. Michelangelo and those Renaissance dudes had apprentices punch holes along the drawing, and dab at the holes with little bags full of chalk dust, thus tracing the drawing to the wet plaster of a fresco.

Alas, no apprentices, plaster or patience.
(Aside No. 2: What is the story with these superheroes, anyway? Literally, what is the story? On the outside looking in, superheroes seems to live parallel and concurrent adventures, rather than a single story arcing from one comic book to the next. So when I read in the news that a major character will die or transform in some real-world headline grabbing way, I think, so what? Superman seems to be dying, marrying, divorcing or coming out of the closet simultaneously.
(Maybe — just maybe — those news stories are just ways to get people to buy $4 comic books.)
Halftone dots suggesting full color.
My original plan was to build the mural's color with dots to mimic the halftone dots used in printing comics. I would even paint the mural in the four core printing inks, cyan (a middling blue), magenta, yellow and black. Into thin plastic cutting board sheets I cut holes in a grid pattern with a die punch — hundreds of holes. The bulk of my time went into punching those damned holes.

On site, all these preparations went out the kid's bedroom window. The cartoon proved difficult to affix to the wall, so I ended up eyeballing from the sketch to block in the characters and the background.

The halftone dots wouldn't work, either, not without a lot of time and a lot more experience. In printing, the dots are laid down in precise grids, and the dots at differing sizes to create the illusion of image and density of color.

I painted the characters in full color instead, outlining them in black — ironically, the solid color that comic book publishers wished they could do. I painted the background a bit lighter, leaving large expanses of the pale yellow pulpy-paper color of the walls, and painted dots to suggest halftone dots. It became a little Roy Lichtenstein.
(Aside No. 3: It's been a whole year since the last creation myth movie for Spider-Man®©™. When's the next one coming out? Tick tock!

The same for the Hulk™®. Think of the three dozen A-list actors denied the right to star as David/Bruce Banner. Joseph Gordon-Levitt, you're next, and hurry it up. Robert Redford ain't getting any younger.)
The project was at once fun and challenging and strange. Fun because it was drawing on a scale I rarely get; fine cramped gestures with a pencil became grand gestures of my arm, brush in hand, gliding paint along the wall. Challenging to handle all the logistics, preserving the perspective and life of the drawing at a large scale, keeping the carpet and furnishings clean, staying focused.

Strange because I was a fly on the wall, or rather bouncing about in angular patterns in a strange room in someone else's home.

Nothing weird, mind you. Just different. I was living each day to the cycles of other people's lives, hearing halves of ordinary phone conversations, trying to decipher noises. Did someone come into the house? Did someone leave? Is the house empty? What was that noise?

I don't know how tradespeople do it, working in others' homes. If I was smart I would have put on headphones and gotten lost in music. As it was, I became anxious for the school bell to ring and made sure to clean up early to get out of the family's house to retrieve my kids before they did.

Finally done, I got good reviews from the boy's mom.

Shortly after, she hired me to paint something for a daughter's room, something simpler: Silvery purple clouds drifting across the rose-colored ceiling, an unseen setting sun lighting their edges orange and pink. All gesture and scrubbing.

On the way up to the daughter's room the first day of painting, I passed the open door of the boy's room. The superhero mural was almost entirely obscured by stacks and stacks of bins for toys and odds and ends. Spidey looked like he was thwipping desperately to avoid the imminent suffocation by Legos™©. The Hulk® had already succumbed.

What none of us really worked out is that this mural wasn't a gallery piece but the periphery of a living, breathing, very active kid and all his stuff. Spider-Man™ and the Hulk©® proved no match.

Tuesday, February 21, 2012

Merciful Minerva! New work

Max Manic,  the on-the-spot innovator,
at your service.
Ain't nothing bad about superheroes.

I love their mythos and meta, from their Greek and Roman and Norse and native primogenitors, to the creation stories of Superman as an avenging angel against totalitarian genocide, an idea Michael Chabon extended as elegy in The Amazing Adventures of Kavalier & Clay.

Through cobble and creation, I used superheroes as a way to teach writing and reading and art at the end of my short career as an elementary school teacher, after all the official No Child Left Behind assessments had been administered.

It was the first time I felt I was truly doing my job as a teacher, and engaging students for long hours in the invention of their superhero alter egos and the bad guy avatars who mess with their real lives.

Early amorphous superhero—
his archnemesis, of course,
is whoever flattened and
stretched his left foot.
So when Paul Vega, graphic designer, business strategist, fit dude and friend, offered me the opportunity to flesh out some superheroes for a client, faster than a speeding deadline I said, "When do we start?"

Paul and partner Doralynn Co of Greenhouse Marketing & Design, Inc. were helping a Sacramento company called Pacific Field Service brand its expertise in the commercial and residential inspection business. Field service is a discipline in the mortgage, real estate and insurance industries, which gives those businesses current information about the condition of their holdings and prospects.

Pacific Field Service seeks a market edge by being nimble and leveraging the latest technology, delivering up-to-the-minute data to its clients.

Paul and Doralynn's job has been to expand Pacific Field Service's profile in those industries, in time for a big trade show. Whole-picture-think-different kinds of folks, they decided to deploy a novel way to create the space of the company's trade booth, play up the high tech quickness as heroic — even superheroic!

Like this or that? Definitely that. (What's with the ears?
and what is the guy on the right doing with his right arm?)
Early idea: Huh?

Greenhouse and Pacific Field Service literally embodied the company's market strengths and vision into four entities: Max Manic, the innovator; Q and her dog A (quality assurance), the ensurers of professionalism; Virtue, who needs no further introduction; and Inspector, representing the corps of Pacific Field Service's core, the gatherers of data from far and wide.

Early alter ego idea …
Inspector looked
like this guy for
a brief moment.
Greenhouse and their client quickly decided the superheroes should come out of the DC/Marvel mold, not a whimsical facsimile (like one I did for another client).

Next came the most fun of the fun part, building the superheroes. Except for Virtue (aka Integra), these are gadget junkies. Objects hang off Max and Q's belts. Max wears what appears to be a solar-powered helmet, with fighter-pilot goggles, and Inspector rocks a kind of motorcycle helmet with an airfoil (or vent?) and modified street biker's jacket, not to mention arm and leg rockets. Q and the Inspector have cameras attached to their heads, which correspond to Pacific Field Service's use of documentation tools. All but Virtue have microphones. Virtue wields a torch of integrity (she also goes by Integra).
What's in the containers Max wears on his contoured belt? Why does Q wield a lariat and matching boomerang? Who knows? That's one of the two great things about superheroes: Readers and fans give them their powers, invest them with their ability to fight crime, right wrongs and save the day.

Sketches for the Fabulous Four in action for promotional cards.
Scott McCloud, a comics artist and meta-comics analyst, said in "Understanding Comics" that the appeal of comics (and the reason the best comics creators are so good at it) is that readers are allowed to provide their own drama and sequence in the gutters between the drawn panels.

In our imaginations, via the printed page, the superhero world works. We project our hopes and wishes on them, and we impel them to solve thorny problems.

In real life, different story: The Inspector's retro rockets, with their fuel lines snaking around his body, would pose a few problems, not the least of which would be steering through space.

That's the other great thing about superhero comics: They only truly work in printed form. Despite the success of Batman and Spider-Man's move to movies (and why is the Spider-Man franchise starting all over again?), and despite the power of computer graphics, cinema takes away our power to empower the superheroes. We get one vision for Spidey riding through the skyscraper canyons, and it's not necessarily my vision or yours, exciting as it is to see  the first time. (Insert your vehement protest here; besides, I make an exception with V for Vendetta.)

Q and Virtue went through
several iterations, often involving
breast reduction …
We readers buy into a comics world with superheroes. We accept that Batman's cape swirls and flows like a Christo piece gone amok, never minding that such accoutrements in real life would be full of stupid.

Heck, we allow that superheroes in bright, tight-fitting suits and animalistic cowls and capes wander about in that world, the one between the pages. They're not silly at all. Maligned and despised sometimes by the inhabitants of their printed world, but not silly. In context, they face real problems and evil bad guys.

Inspector also delivers
the rocket fuel as barista …
The bright, tight costumes are integral to printed superheroes, designed more to attract our eyes and show off four-color printing capabilities than any sense of logic or exposition.

But in the real world (think of the fans at Comic-Con or the supposed rise in real-life superheroes in Seattle, New York and elsewhere — a sociologist's dream: Why? Economic woes? Social malaise?), those costumes are just … costumes. Gaudy, out of place, seeming to rob these ersatz superheroes of their power and esteem. Dave Gibbons and Alan Moore explore that sub-theme in Watchmen (again, distorted in movie form because it delivers one level of hyper-violence, one look, and must disregard the story within the story).

Happily, Pacific Field Service's fab four steer clear of that dilemma. Writ large and bold in two dimensions, they tap into our imaginations and sense of play, their ideals intact.
Pacific Field Service superheroes bust out before shipping off to the trade show.