Thursday, October 29, 2009

CASTLE part 2

I've attached here some of the main artwork that we saw and didn't see in the actual show. I did a great deal for CASTLE that didn't make it onto the final cut. Hey, it happens. I'm more concerned about giving them what they need rather than what they use and don't use. If I even felt slightly bad about not seeing all my work featured that feeling is assuaged now by showing you the artwork right here.

These first two pieces are the key pieces of the tree that we see. They kept referring to this off as Crow's sketch work, when it was obviously a digital print out. That's ok, I mean they wanted Crow to be a digital artist. Karen and Alfred even asked me extensively about my setup at home. But when it came to the final cut I think that detail got lost in the mix. My only concern was that I did a great deal of actual sketch work using actual charcoal work for them. Yeah, you heard me. REAL artist stuff. Non-digital artist stuff. I generally don't tend to work in media other than digital because I tend to wear everything that I work in. The charcoal was no exception. I looked like a chimney sweep by the end of a solid drawing session.

But I remember the story involving these two digital pieces of the mother very well. I am by nature, nocturnal. As the night draws on and the numbers on the clock reach their maximum and start again at one my creativity winds up more and more. So I tend to get to bed around 4am and rise from my coffin around 10am. So when a call comes at 8am, it gets shut off pretty quickly. Except when my phone reads, "CASTLE".

I answered the phone, still trying to hang onto the blanket of sleeping hoping that I could slip back under again. They apologized profusely. The order of the scenes they were shooting had been moved around for logistical purposes. But then they realized they needed artwork for the scenes. They needed a sketch of the mother under the tree, and perhaps also a close-up so it read better. And they needed it by 10am.

I told them that I could do the charcoal sketch but even if they sent someone now we couldn't courier it back to them in time. They assured me that a digital sketch would be fine to send by email.

I remember going into full-on fight or flight mode. My adrenaline was pumping so hard my hands were shaking - which doesn't help you draw, believe me. Now I know how Kaylee felt with Captain Reynolds yelling through the intercom to get the engines back online or they're all going to be raped to death by Reavers.

I managed to get them done in time. Somehow. You don't have much choice when you realize an entire production is waiting on you to get something done so they can get to work. Every minute is costing ridiculous amounts of money. I remember after the adrenaline come-down going back to bed to sleep for another 4 hours. I was so exhausted.

The "pool of blood" picture was for a piece that sat on Crow's easel. I originally misinterpreted it and drew it much smaller. Once that confusion was cleared up I was given the go-ahead to do a huge 3 foot by 4 foot piece. I drew the faces separately and glued them on, figuring that no one would ever notice and it wouldn't read for the camera. Now apparently the glue started to give and her face started peeling off. But it made for a really nice creepy effect. It's one of the key images as Castle and Beckett enter Crow's apartment. An accidental piece of art. I wish I could take credit for it, but I think that goes to Alfred and Karen.

I took a photo of the piece before I painted in the pool of blood. I was terrified that the pool wouldn't work and I'd have to digitally rework the piece. Turns out, it ended up looking ok. I also liked that it's a subtle mislead that Morlock killed her and possibly him.

What I loved is the amount of thought that goes into every aspect of the production. Everything is considered. In addition to the huge "pool of blood", Alfred Sole, the head of the art department wanted a huge mural for Crow's wall. It was supposed to be a work in progress or visual diary for Crow. So every night Crow would awaken from his nightmares and draw what he dreamed. Visions of his mother mixed with Morlock and the tree and blood. I threw paint at the mural, flicked it, smeared it. Drew on it with paint and charcoal and ink and everything I could get my hands on. It's about 4 feet wide and 6 feet tall. That's my toes in the corner as I climbed on my ottoman to take that photo. It was the only way my camera lens could get the entire piece in.

They also asked me to do a bunch of sketches to cover up Crow's wall. Here are two of Vixen his vampiric lover. I ended up asking Samantha Shelton to "friend" me on Facebook so I could steal some pictures of her to draw from. She kindly accommodated my bizarre request to Face-Stalk her. I was concerned that I wouldn't know what her makeup would look like. Then I realized that all the goths I know change their looks more often than a chameleon sitting in the window of a moving train.

I also did a sketch of the daughter, Crow's sister, but I can't seem to find that anywhere.

Next: The third and final part of my CASTE experience. Sketches of Zoe Taylor as the dead mother and Robert Arbogast as Morlock. And of course, meeting Nathan and Stana.


Ryan Stewart said...

I think what I love most about this is how different your style looks. When I was watching the show, I actually asked my wife if they used two artists, because some of these examples are such a departure from your "normal" style. That shows some great versatility!

Alexandre Togeiro said...

Hey Jas! I think these traditional media works are fantastic!

Anonymous said...