Hours 3 and 4 of the 24-Hour Comics Day challenge. Around about this point, I decided I wasn't drawing fast enough and really rushed things. Also, I cannot draw action scenes or fabric, uhm, let's just say I cannot draw these things while in a hurry. Also, I decided it would be faster to draw everyone nekkid. And draw one of the characters as Chris Meloni. Then I was coaxed out for nachos, came back, drew undies on, and made the guy not look quite so Meloni-esque.
Hour 6 of the 24-Hour Comics Day challenge.
More of hour 6 of the 24-Hour Comics Day challenge.
Hours 7-ish through 9 of the 24-Hour Comics Day Challenge. Expect to see increasing artistic punchiness as the hours progress.
Hour 10 of the 24-Hour Comics Day challenge.
From around halfway through the 24-Hour Comics challenge.
These are at the original drawings for the next part, created at the tail end of 24-Hour Comics Day. I really don't think they make complete sense in terms of telling the story, but, since I have been unable to redraw them over the past couple of days... You can take a look at these, and then see the legible revision after the weekend :) And there's even more after this. Even weirder looking.
These are the original drawings done at the tail end of 24-Hour Comics Day. I don't think they make total sense in terms of telling the story, and I did very much want this to be a big scene. Yet again, I haven't been able to redraw these (my hand is still recovering). More rest is probably needed. Please bear with me for a little while longer.
Yesterday I finally saw the new(ish)ly renovated Greek and Roman galleries at the Metropolitan Museum of Art in Manhattan.
The Greek galleries are full and nicely organised by era and theme, just as they had been before the renovation, with some interesting additions.
Much of the Roman portraiture and statuary has been moved into a hodegpodge, scattered arrangement in a single large hallsome pieces quite dramatically lit, I will grant, but with no flow or context. The overall impression the arrangment gives is that Roman civilisation consists of bits of broken marble copied from Greeks, and the statue of young Hercules over there sure would look good on a postcard on the fridge. The side rooms are sparse and just as poorly arranged, giving an overall feeling of wandering through a used-furniture showroom that's going out of business. The main hall in particular is not a strong effort, better suited to interior design for a chi-chi restaurant on a Mediterranean theme, not for the appreciation of a culture's art or for education about its history. What a fancy-schmancy mess the exhibit is.
The marvellous bust of Caligula never fails to impress, though, particularly as it is now lit to enhance the bright white glowing stone, polished and bleached by the ages, and it withstands the ludicrous commentary on the placard accompanying it. It glows amongst the more-dimly lit pieces around it, but one must weave an uneven obstacle course of random pieces to reach it. Nonetheless, as a group of teenagers remarked while I was there, "He's cute."