I'm looking for drawing requests, only to expand my portfolio. If the idea is interesting enough I may model it, but my modeling skills aren't as up to snuff as my drawing abilities. Take that as you may. Thanks; Prairie

are they free? ( the models and drawings )

how about an overhead view of a robot walking with a gun?

I'd like a bunny.

But not just a cutesy-adorable bunny. A cutesy-adorable bunny that's pissed off. And armed.

And, if you like, you could add a fox, the bunny's natural enemy. But the poor fox hasn't quite mastered weapons technology.


At the least, it could be a fun sketch for you. [smile]

On the Stairs of Shinden Sepulcher

The viewer looks down from a great height. Stretching out below him, so far below that the lines of perspective seem to curve and the innumerable steps fade into the haze of distance, runs a great stair. At its base a plaza opens up, surrounded by tall buildings of white stone. Despite their size, the metallic scales of their roofs can clearly be seen glimmering in the sun. Ringing the plaza are slender flagpoles, and from their tops long, multicolered banners billow in the breeze. The horizon is defined by the distance shapes of more great buildings, and above their jagged tops, pale cumulus clouds float, their flanks painted golden in the light of a sun that has just begun to wester.

In the middle distance, small figures are making their way up and down the stair. Most are garbed in ceremonial robes of deep crimson. Some have their hoods raised against the streaming light of early afternoon, while others go bareheaded. In one spot, three robed figures sit in quiet conference, or perhaps to rest.

In the near distance, perhaps twenty feet away, a priestess stares up at the viewer, her hands upon her hips. The sleeves of her ceremonial vestment bunch in folds about her hands, cuffs dangling. Her robe is deep, velvety red, like the figures in the distance, but the nearer perspective reveals a stole of black about her narrow shoulders, the ends lifted by the lofty breeze that whistles over the cracks and cornices of the Stair. A cincture, also black, gathers the robe close about her waist. She rests one foot upon the stair before her, revealing the muted shape of her knee within the robe. The hem of her vestment does not quite cover her sandaled toes. Her head is upturned, as though staring at the viewer; her eyes spark with intelligence and her mouth seems on the verge of delivering some lively retort.

In the foreground, on the lefthand side of the field of view, a great series of arches rises up, one on top of the other, like the supports of a Roman aqueduct. The edges nearest the stair are jagged, ruined, rounded by the wind, though enough remains to suggest that they once ended in pillars which bracketed the head of the Stair. Through the arches there are only clouds, sky, and perhaps the hint of golden hills almost lost in the hazy distance. In the shadowed crook of one great arch, a swallow's nest nestles. Here and there on the ground, dots of bird scat reveal that the only custodians of this hallowed place are the wind and rain.

Quote: Original post by Muse

On the Stairs of Shinden Sepulcher

The viewer looks down from a great height. Stretching out below him, so far below that the lines of perspective seem to curve and the innumerable steps fade into the haze of distance, runs a great stair. At its base a plaza opens up, surrounded by tall buildings of white stone. Despite their size, the metallic scales of their roofs can clearly be seen glimmering in the sun. Ringing the plaza are slender flagpoles, and from their tops long, multicolered banners billow in the breeze. The horizon is defined by the distance shapes of more great buildings, and above their jagged tops, pale cumulus clouds float, their flanks painted golden in the light of a sun that has just begun to wester.

In the middle distance, small figures are making their way up and down the stair. Most are garbed in ceremonial robes of deep crimson. Some have their hoods raised against the streaming light of early afternoon, while others go bareheaded. In one spot, three robed figures sit in quiet conference, or perhaps to rest.

In the near distance, perhaps twenty feet away, a priestess stares up at the viewer, her hands upon her hips. The sleeves of her ceremonial vestment bunch in folds about her hands, cuffs dangling. Her robe is deep, velvety red, like the figures in the distance, but the nearer perspective reveals a stole of black about her narrow shoulders, the ends lifted by the lofty breeze that whistles over the cracks and cornices of the Stair. A cincture, also black, gathers the robe close about her waist. She rests one foot upon the stair before her, revealing the muted shape of her knee within the robe. The hem of her vestment does not quite cover her sandaled toes. Her head is upturned, as though staring at the viewer; her eyes spark with intelligence and her mouth seems on the verge of delivering some lively retort.

In the foreground, on the lefthand side of the field of view, a great series of arches rises up, one on top of the other, like the supports of a Roman aqueduct. The edges nearest the stair are jagged, ruined, rounded by the wind, though enough remains to suggest that they once ended in pillars which bracketed the head of the Stair. Through the arches there are only clouds, sky, and perhaps the hint of golden hills almost lost in the hazy distance. In the shadowed crook of one great arch, a swallow's nest nestles. Here and there on the ground, dots of bird scat reveal that the only custodians of this hallowed place are the wind and rain.

Sounds like a scene that I would create. Although I've always been a fan of epic or grand scale scenes. I would put a vote in for this, but I guess it's really up to Prairie's drawing style and interests.

I really like Muses Imagery. Right now I'm working on a couple of character concepts. After those, I'm going to give that scene a shot. Thanks for the replies.

--Destiny's Shield--

Alexandria was famous throughout the Mediterranean world for the magnificence of its public thoroughfares. The two greatest of those boulevards, which intersected each other west of the Church of St. Michael, were each thirty yards across. The intersection itself was so large it was almost a plaza, and was marked by a tetrastylon—four monumental pillars standing on each corner.

The buildings which fronted on the intersection were likewise impressive. On the north stood a huge church, measuring a hundred yards square. The edifice was hundreds of years old. Originally built as a temple dedicated to the crocodile god Sobek, it had been converted into a Christian church well over a century earlier. Most of the pagan trappings of the temple had been discarded—the crocodile mummies in the crypts had been unceremoniously pitched into the sea—but the building itself still retained the massive style of ancient Egyptian monumental archi-tecture. It loomed over the intersection like a small mountain.

Across from it, on the south, stood a more modern building: the gymnasium which marked Greek culture everywhere in the world. And, next to it, the public baths which were a hallmark of the Roman way of life. The eastern side of the intersection was taken up by another archetypal public structure, a large theater in which the city's upper crust was entertained by dramatists and musicians. Only on the west were there any private buildings—three stately mansions, as similar as peas in a pod.

Taken as a whole, the entire effect was one of grandeur and magnificence.

For the current character sketch I need to draw a hulking figure which is fairly simian. I'm planning on doing it piece by piece. Would you guys critique me along the process? I'm planning on starting with the head and moving down the body. I've been so set in my style, that any feedback would be welcome.

Thank you;
Prairie

Glad you liked it. Always happy to offer feedback on character art, though I can't give the expert CC that a real artist can (but when did that ever stop anyone on this board... :-) ).