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Top Dingus

@thetopdingus.bsky.social

Machine enthusiast, malthusian bomb magnate, and alleged artist. Expect many retweets/rexeets/reblogs/whatever the fuck this place calls them

331 Posts1569 Follower256 Folgt
Sparrow S.A./イグルーシカ@sparrow-s-a.bsky.social · 8h ago

FRX00／FFR41MR メイヴ「雪風」（原作版） ちょっと以前の模型なのですがnoteにまとめてみました。 模型の解説、ではなくて、「〈メイヴ・雪風〉概説」が内容のおよそ1/3、4700字ほど。 えーと、あれですよ、巻末にあったあれが、なんで「グッドラック」以降付いてないんだ……なぜだ、という（判る人だけわかってください）。 note.com/sparrow_s_a/...

Element115Art@element115.bsky.social · yesterday

Now live at Unlikely Stories, my new short story "Strategic Hypostasis." At 18:31 CST on March 13, 2029, nuclear war breaks out. LT. Jessica Marinakis is sent on a mission to the northern Canada, a journey through the unreal imagery of apocalypse, both secular and otherwise.

A glitchy edit of a radar radome.A medieval depiction of the Sixth Seal opening from the Book of Revelation, which causes stars to fall from heaven.
Andrés L. Mignucci@andreslmignucci.bsky.social · last mo.

For the past three years, I've been writing & drawing FIRE IN THE HIGHLANDS, a fantasy novella with 48 full-color illustrations; in it, a pair of naturalists study the ecology of a rare & dangerous creature. Each month, you can read a new part for FREE on the Patreon: PART 1 is up now! Link below!

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Andrés L. Mignucci@andreslmignucci.bsky.social · last mo.

July's creature is the DOMESTIC COCKATRICE—it lays its eggs in the nests of others; lucky for farmers, it has the useful instinct to protect its foster family with acid vomit. But you'll have to wait till Friday after next (Jul 10) to read it, as I've got a BIG announcement for you this Friday!

Top Dingus@thetopdingus.bsky.social · 2d ago

y'know I'll be honest, I used to think that scale mail was kinda lame and weird looking, but now I dont think that I see it depicted enough! It really does seem like a mainstay in late antiquity alongside chain mail which was adopted surprisingly early to me

Element115Art@element115.bsky.social · 2d ago

The front part of the IMIS design would be the Mission Module crew compartment. In front of that were the payloads: three uncrewed probes and the MEM lander behind them. The Mission Module also contained Earth Entry Module for reentry at the end of the mission.

IMIS facing forward with the different payload vehicles visible and reflecting the Earth.
Element115Art@element115.bsky.social · 2d ago

The Boeing Integrated Manned Interplanetary Spacecraft (IMIS) was a 1968 design for a Mars mission. Boeing estimated that this design could launch its first mission in 1985. It would use five NERVA rocket stages, each fired and discarded throughout the 460 day flight.

IMIS, a long rocket-like spaceship
Ollie@ordheist.bsky.social · 2d ago

reminder that I'm looking for character design work! DM me or email me via my bio. I also have an e-book out which you can also find in my bio, only 4 bucks!

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Don Davis@ddavisspaceart.bsky.social · 3d ago

Work I used for the new Viking 1 digital painting goes back to the early 1980s and my efforts to make maps of the Viking landing sites. A project to redo my scratchboard Viking landing site maps proceeded as far as annotating surface panoramas with grids but then languished until recently. #Sciart

After the Viking mission two large format NASA Special Publications were especially valuable in later efforts to portray the Viking landing sites in Perspective. First, of course, was NASA SP-425 'The Martian Landscape' with beautiful large reproductions of earlier Viking photos, and especially NASA CR-3568 'The Viking Lander Atlas of Mars' which displayed the derived locations of landscape features in 3D space, plotted in contour lines defined by the perspective of the two cameras. Both are on line in wreched form, find a physical copy if you can. I obtained two copies of the lander atlas, one I disassembled and used the relevant pages to plot out over the landscape the meter grid using the distances determined by the two lander cameras and printed as contours on its many pages. The data is great but visually primitive, fragmentary tracings of scenery projections in the distance onto grids which require close comparison with the contour marked surface panoramas themselves in order to relate the data to the surroundings. Here is one of those pages I laid an acetate sheet over and plotted the grid data on with a rapidograph pen. Some sense of the undulations in the landscape can be gathered from the grid. After doing all the camera views this way, I started to paint a grayscale airbrush overhead map of the lander surroundings based on this work, but it turned into such soul crushing work I gave up while still painting the highlights on the gray background. The Paasche AB airbrush was just too labor intensive for me in this kind of mostly rocky detail. I greatly respect the airbrush mapping artists who would make beautiful maps of the Moon and planets, for me these were the most labor intensive features to try to map. For decades these annotated panoramas from that book lay tucked away among my art files. When the computer arrived as an art tool I found and scanned those acetate overlain surface panoramas, which were fortunately well reproduced in the book. Here is the result of 'stretching', square meter by square meter, the camera view of the nearby ground details with the perspective for each section determined from the grid I added to the detailed surface panorama reproduction. Each section was more or less rectified into something resembling their spatial location as seen from overhead. A Viking era spacecraft engineering drawing I xeroxed ages ago and much later scanned was included for scale reference. This and other material became the basis for an initial basic grayscale derived scenery model for the area within the frame of the painting. The resulting crude model, emphasizing the general contours and only the largest rocks, was textured with the map related work then the result completely repainted. None of the liabilities of the limitations of the digital modeling remains and all of my perceptions of the scenery reference points are extrapolated and applied to my painted portrayal. The extensive mapping work done during the mission within the sampling field, which happens to be in the foreground of my new work, was particularly useful. On the lower corners some contour lines from such a map can be seen. In support of my digital painting I made a Viking 1 sample field area projected view, using various distortion filters to reshape surface images. Maps were used to constrain rock placements, and my digital model of the lander dimly appears at the top. Of course the rocks are 'stretched' radially farther from the cameras as we project their views onto a flat plane, but the bases of rocks facing the camera are reasonably well placed where the general terrain is fairly flat.
Don Davis@ddavisspaceart.bsky.social · 3d ago

51 years ago I painted a trio of Viking related works for NASA HQ including the widely reproduced one of the landing on Mars. I have reimagined the Landing portrayal in updated form using digital methods of visualization and painting. I chose the same angle but with reality replacing anticipation.

This oil painting portrays the Viking 1 landing on Mars, which appeared in countless publications. The story of this work is relayed in an earlier post and is shown here for comparison with the new portrayal of this very view, showing the event as it would have appeared. This 1975 anticipatory painting was done with oils on a gesso smoothed 16 X 20 canvas panel, using traditional art methods including a tracing paper guide featured earlier. This work shows in retrospect my ideal of the 'spirit of space art', showing something of a summary of what is known of the subject while conveying what it is about the subject's known or theorized attributes that I find visually compelling. The new digital painting updates that visual impression with one based on our current knowledge. The new digital work was also done at the same size as this one was for possible printing purposes, 16 by 20 inches at 300 DPI. #Sciart In 1976 the pair of Viking spacecraft orbiter/lander combos were sent to Mars. Before Viking, Mars was still largely a place of our imaginations, an unknown that we wrote stories about then studied from Earth and space. The dominance of cratered terrain on the portions of Mars photographed by Mariners 4, 6 and 7 gave an initially Lunar impression of that world, which changed during the development of the Viking lander after Mariner 9 revealed the planet. The first landing was aimed for a flat flood plain, judged as a decent place to search for life. The landing date was July 4, however the intended site appeared too rough for comfort in the high quality orbiter photos, causing the landing to wisely be delayed. A smoother site further 'down stream' was found using photo and radar data. The landing proceeded quite nominally, a magnificent achievement that apparently accounted for what it had to and made it the first time. The first photo from the surface was a look at a footpad to see how solid the 'footing' appeared. Then a moderate resolution panorama of the surroundings was obtained, first showing the rocks, hills, dunes-and bright sky. The latter was my biggest surprise as a space artist. The adjustments to the color balance of the later photos were gradually narrowed down. The ubiquitous dust is planet wide, suspended in the air and coloring the sky a luminous tan ochre. This digital painting shows the view a meter above the surface seeing the lander briefly kicking up dust less than a second before touchdown with the footpads 1.4 meters high. The landing rockets were designed with many nozzles to disturb the surroundings as little as possible. The nearby disturbed dust resembles in color that of the sky. We are 6 meters away from the center of the lander. field of view is 60 degrees, we are looking Northwest with the Sun and Earth off the frame to the left. This is a digital art update of the pre mission oil painting I did for NASA HQ 1n 1975. #Sciart
ヤマダユージ@mechaimaging.bsky.social · 4d ago

ヤマトのリメイクが制作されるチャンス、私が年齢的に健康な状態で見られる機会、これがうまく重なるのは難しくなっていく・・・と思っています。最新のリメイク「3199」への思いは、「良い部分を集中して楽しむ」「ここまで続けて見たらすべて飲み込んでみる」へと変わってきています。

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Tekka Croe@tekkacroe.bsky.social · 5d ago

Vermilion Hope stuff from a little while back: figuring out some more realized construction and articulation for the TAC ARMs' inner frames. I'm especially pleased by the ab crunch and shoulder extension both articulating from the same axis.

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