mahvin wrote:
The image actually gives you the sense of weightlessness and that must be tough to actually capture in just one frame.
I'm glad to hear it! I had most trouble with the pose this time actually, that squat turned out to not be trivial to get right.
Rod wrote:
[...]
Unless you suddenly went from zero-g to not very suddenly.Which is exactly what happened.

It was essentially perfect timing on the roller coasters part.
:)
Hehe, yes that'd do it!
GnuTux wrote:
Nice work, as always.
Just a little curious as to why you tend to use the same subject in many of your works of art. Is there a reason for that?
This is a good question. The various subjects I often reprise are parts of larger works and stories of mine. I grab scenes from them and make them into full paintings. Due to a busy life I don't often find time to develop many of these larger-scale stories in-depth at the moment, hence the images I do tend to show off snippets from them - usually things I can finish in one or two sittings. This way I can delve into these worlds and gradually clarify them to myself while not committing to the long time it takes to develop the continuous story.
Shrike - references to humanity is for example a long-running sci-fi comic project of mine.
Where Red Apples Lie is a novel I wrote more than a decade ago and which I plan to make into a graphical novel. The "Jester" series is originally from roleplaying scenarios, as are the dragons and trolls I've done over the years.
There is a more practical reason as well. Whereas referencing my own stories like this supply me with near endless ideas for images, there is a thought behind it training-wise. Using the same subject is actually harder for me than creating a completely new character. A new character is, well, new. Noone knows how they are supposed to look so you have near-infinite freedom. Redoing a previous character on the other hand adds complexity - it must still look (and more importantly
feel) like the same person despite them showing a very different expression/emotion or being displayed as being in very different circumstances. I also try to do more and more complex poses so as to show the same character in different ways yet still remaining recognizable. Sometimes it works, sometimes it doesn't, but it's very good training nevertheless.
That's not to say I don't do one-off "concept" images now and then too. Or try new things. It's nice to work without limitations sometimes. But that's the best answer I can give to your question anyway.

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Griatch