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Description
The massive hangar door groaned unwillingly but managed to raise nevertheless. Someone would need to see to that, but when? Who? There were too many essential tasks to be done, and not enough people to do them.

Wearily, the Director led the recruit out beyond the safety of the viewing platform and into the hangar proper. Dalia, nearly a recruit herself, pulled taut on laces as thick as young trees. The incursions were happening ever more frequently now, increasing geometrically, and it was no longer possible to protect everyone everywhere. Battles were decided based on the number of lives at stake and the odds of victory, not to mention how fast a location could even be reached.

The Director looked from Dalia to the recruit and placed a hand on her; are you sure you want this? It wasn't spoken. Lioness needed every woman willing and able to fight for the coming exodus inland, though the Director would never force another to take up the burden.

The flash of tension across the recruit's body was confirmation of her resolve. Moments later, Dalia rose and sprinted out with fists clenched. Lioness would pull humanity up by its bootstraps, or go down swinging.

Some of my favorite paintings that I've made have been the ones set in hangars and other industrial spaces, so it was a real treat to work on this one. I'm really pleased with the level of realism I was able to achieve, especially with all of the various elements that I had to combine together (the people in the foreground, the forklift, the giant, and the hangar itself!).

It's funny, but the reason this piece even exists is because I found a die-cast model forklift a the hardware store. My girlfriend and I were there looking for fly traps, and I just happened to see a display with model cars on it. I looked closer and saw there was a little forklift there too. I'm always on the lookout for things that I can incorporate into my work, and I knew I had to have it.

I started looking through my sketchbook for concepts that I could use my new forklift in, and I rediscovered some thumbnails from around the time I was working on Found of a giant tying her shoelaces. I realized that that would be perfect for a new hangar scene, and everything kind of evolved from there. Goofy, I know, but it's the truth!

I recorded my entire process for creating this piece and put it all together into a video. If you'd like to see the reference I used, the set I made, and the painting techniques I used, you can watch the video here!

Thank you so much to all of my patrons for supporting my work and helping to make this possible! If you'd like to join the community and help me to keep on doing what I'm doing, join me on Patreon!

Lacing Up, oil on canvas, 14 x 29 inches. Available.

Description
The massive hangar door groaned unwillingly but managed to raise nevertheless. Someone would need to see to that, but when? Who? There were too many essential tasks to be done, and not enough people to do them.

Wearily, the Director led the recruit out beyond the safety of the viewing platform and into the hangar proper. Dalia, nearly a recruit herself, pulled taut on laces as thick as young trees. The incursions were happening ever more frequently now, increasing geometrically, and it was no longer possible to protect everyone everywhere. Battles were decided based on the number of lives at stake and the odds of victory, not to mention how fast a location could even be reached.

The Director looked from Dalia to the recruit and placed a hand on her; are you sure you want this? It wasn't spoken. Lioness needed every woman willing and able to fight for the coming exodus inland, though the Director would never force another to take up the burden.

The flash of tension across the recruit's body was confirmation of her resolve. Moments later, Dalia rose and sprinted out with fists clenched. Lioness would pull humanity up by its bootstraps, or go down swinging.

Some of my favorite paintings that I've made have been the ones set in hangars and other industrial spaces, so it was a real treat to work on this one. I'm really pleased with the level of realism I was able to achieve, especially with all of the various elements that I had to combine together (the people in the foreground, the forklift, the giant, and the hangar itself!).

It's funny, but the reason this piece even exists is because I found a die-cast model forklift a the hardware store. My girlfriend and I were there looking for fly traps, and I just happened to see a display with model cars on it. I looked closer and saw there was a little forklift there too. I'm always on the lookout for things that I can incorporate into my work, and I knew I had to have it.

I started looking through my sketchbook for concepts that I could use my new forklift in, and I rediscovered some thumbnails from around the time I was working on Found of a giant tying her shoelaces. I realized that that would be perfect for a new hangar scene, and everything kind of evolved from there. Goofy, I know, but it's the truth!

I recorded my entire process for creating this piece and put it all together into a video. If you'd like to see the reference I used, the set I made, and the painting techniques I used, you can watch the video here!

Thank you so much to all of my patrons for supporting my work and helping to make this possible! If you'd like to join the community and help me to keep on doing what I'm doing, join me on Patreon!

Lacing Up, oil on canvas, 14 x 29 inches. Available.