Kenris Chances are, they shot themselves accidentally many times before. You should post it on lego cuusoo, and maybe it will become an official lego set! It can cause personal injury or irreparable damage if improperly used. Email to friends Share on Facebook — opens in a new window or tab Share on Twitter — opens in a new window or tab Share on Pinterest — opens in a new window or tab Add to watch list. NO Lego pieces or minifigures included. No Lego set, pieces gumbler minifigs included.
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White ink on black paper Sheen of sweat on skin When I tweeted a link to my first anniversary post three years ago, black-and-white brush-and-ink was still the main vehicle of FillionDrawingOfTheDay. Nathan Fillion retweeted that tweet. When I met him four months later at St. Louis Comic Con, he signed a sketchbook page.
Later that year, he favorited a couple of Firefly drawings. I was on his radar! Castle gestures defensively Charcoal on newsprint Difference is clear: Freedom! Now he has a body, an attitude, and movement. I was breathless over the potential at this scale. My trajectory made a hairpin turn in August , when I met Nathan Fillion the second time. His assistant, Michelle Chapman, arranged for me to draw him during three autograph sessions at Chicago Comic Con.
When I returned to my new studio, I struggled to channel my vivid memory of his living presence into ink; I felt the urge to shift into high gear. I stood up at the easel, took charcoal in my hand and drew him from memory, then from the screen, larger and larger and larger. Standing at the easel, engaging my whole body: the freedom, the scale, the scope—this was my cruising speed, attained at last. Black charcoal yielded to color pastels.
Color unlocked atmosphere and background detail. Finally, other actors came on the scene, opening the throttle wider as posture, gesture, and mutual gaze drove up emotional tension. Suddenly, I was thinking about character, about story, about narrative, about time and space and distance and change. Castle and Ryan in Castle Pastel on black paper Action! Early on, hunched over my sketchbooks, compulsively touring his facial contours, lapping the same safe course, the only prize I raced for was praise online.
Comic Cons changed the game and raised the stakes. Could I make comics? A three-page test-drive comic dented that ambition: too slow, too small, too tight, too tidy. Maybe, but up-front costs are daunting: photography, printing, selling, shipping. A Castle poster printed for free failed to finance another round. Park my talent and accept the drag of debt to sell posters? I veered away lest it stall my momentum. Appealing to fellow fans, I realize, is no longer enough.
I want to say more. I want to see more. I want to be more. Nathan Fillion at NerdHQ Pastel on builders paper, 80x36" A pieced-together experiment that points a way to a future. Capturing movement in a sequence will be a challenge.
As I peer through a foggy windshield at the turnoffs the future may hold, I know which direction I want to go: Big! Life-size or larger. A sense of movement and tension. Emotions in ambiguity and conflicting perspectives.
Most of all: presence, impact, heft. Malcolm Reynolds in Serenity Poster paint on builders paper First painting! Begin with black and white. And what of Nathan Fillion? Oh yes! I still love him, though not in that helpless midnight-sobbing way. What if I succeed and create work that people talk about, find meaning in, and are changed by?
Will you stand by me proudly?
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