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You may not like what you’re going to see. Advanced criticism and profession advice are strongly encouraged.
The artwork featured in this submission is a graphic pencil rendering of actor Peter Weller as the titular character of the 1987 Paul Verhoeven film RoboCop. The illustration was rendered on a 12 inch by 9 inch sheet of vellum Bristol.
RoboCop is a science-fiction black comedy born of a story that was originally discarded by Verhoeven. In the film, Weller plays Alex Murphy, a police officer in the dystopian Old Detroit who is slain in the line of duty. Murphy is soon after resurrected as RoboCop, OCP’s answer to the crime wave plaguing Old Detroit. The RoboCop program initially runs very successfully, but things go awry when the cyborg regains memories of its past life and goes on a manhunt for the men who had slain him.
RoboCop is easily in the top of my all-time favorite films. It is a film that I have enjoyed ever since I was a kid, and I find it odd that the violence in the film doesn’t phase me despite the fact that I don’t much enjoy violent films. Furthermore, this film might have sparked much of my early interest in fiction about cyborgs. The scene being referenced for this drawing is perhaps my favorite scene from this film; the cocaine factory massacre scene might rank as a close second. In the scene being referenced in this work, RoboCop finally unmasks after having been injured in a vicious battle with ED-209. Hence, Weller is wearing the makeup and costuming to show how Murphy’s corpse is fused to the RoboCop armor.
Weller, I feel, has a well-defined eye shape to him. It is a quality that I similarly enjoyed when I illustrated Marty Feldman. Weller also seems to have very notable cheek lines, which I am not sure if they are brought out by the nature of his costuming. From what I heard in documentaries, a quality that made Weller desirable for the role of RoboCop was a defined chin.
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Thank you for your cooperation. Good night.
PROJECT #106
The artwork featured in this submission is a graphic pencil rendering of actor Peter Weller as the titular character of the 1987 Paul Verhoeven film RoboCop. The illustration was rendered on a 12 inch by 9 inch sheet of vellum Bristol.
RoboCop is a science-fiction black comedy born of a story that was originally discarded by Verhoeven. In the film, Weller plays Alex Murphy, a police officer in the dystopian Old Detroit who is slain in the line of duty. Murphy is soon after resurrected as RoboCop, OCP’s answer to the crime wave plaguing Old Detroit. The RoboCop program initially runs very successfully, but things go awry when the cyborg regains memories of its past life and goes on a manhunt for the men who had slain him.
RoboCop is easily in the top of my all-time favorite films. It is a film that I have enjoyed ever since I was a kid, and I find it odd that the violence in the film doesn’t phase me despite the fact that I don’t much enjoy violent films. Furthermore, this film might have sparked much of my early interest in fiction about cyborgs. The scene being referenced for this drawing is perhaps my favorite scene from this film; the cocaine factory massacre scene might rank as a close second. In the scene being referenced in this work, RoboCop finally unmasks after having been injured in a vicious battle with ED-209. Hence, Weller is wearing the makeup and costuming to show how Murphy’s corpse is fused to the RoboCop armor.
Weller, I feel, has a well-defined eye shape to him. It is a quality that I similarly enjoyed when I illustrated Marty Feldman. Weller also seems to have very notable cheek lines, which I am not sure if they are brought out by the nature of his costuming. From what I heard in documentaries, a quality that made Weller desirable for the role of RoboCop was a defined chin.
I am trying something new by making quality prints available. Users interested in purchasing a print can visit the following link:
Go to listing @ Etsy
Thank you for your cooperation. Good night.
PROJECT #106
Category Artwork (Traditional) / Human
Species Mammal (Other)
Size 1000 x 727px
File Size 267.7 kB
I can understand the difficulty in recognizing the film as being a black comedy. After all, it is a factor of the film that went right over my head when I enjoyed the film as a kid and I still recognize the film as being more so an action vehicle than a comedy. It can be debatable from film to film whether comedy was intentional or not.
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If we're to talk seriously I would argue that the comedy is an artifice of the film aging poorly and losing its respectability through sequels. Don't get me wrong, I love all the robocop films and find them deep and poignant, but I find people who argue the films are a ridiculous face.
True.But better then that going through what Mr.Kenny went through when ed 209 shot the hell outa em during the glitch.
and was gonna do a flash animation of the scene where lewis tells him about his family moving on and him walking off camera only to hear her ask where he's going and you hear a shot implying he killed himself.then credits with the robocop theme playing.
and was gonna do a flash animation of the scene where lewis tells him about his family moving on and him walking off camera only to hear her ask where he's going and you hear a shot implying he killed himself.then credits with the robocop theme playing.
I think the costume looked its best as this point, when Murphy was unmasked and his armor was damaged from the battle. The flexibility that Weller had with this costume is very impressive, and from what I'm to understand, Weller was suffering from severe dehydration because of it.
I'm glad you enjoy this piece. Thanks for visiting!
I'm glad you enjoy this piece. Thanks for visiting!
Peter Weller had great trouble with the costume at first as it restricted his movements horribly, and the first day in it was so hard on him he almost quit the role.
Then he and his motion coach spend a lot of time testing and practicing what movements would work and they discovered that they could make the restrictive nature of the suit part of the performance.
By making Robocop move in a very slow deliberate and mechanical looking way it made the costume easier to handle for Weller and it made him also more convincing looking as a machine.
Then he and his motion coach spend a lot of time testing and practicing what movements would work and they discovered that they could make the restrictive nature of the suit part of the performance.
By making Robocop move in a very slow deliberate and mechanical looking way it made the costume easier to handle for Weller and it made him also more convincing looking as a machine.
i LOOOOOVE robocop as well (the sequels, not so much...)
I can't really add constructive criticism... maybe the blackness right to his face is a bit disctracting (I guess you wanted to frame the face/balance the shades but I think it might have gone a bit overboard *nitpicking*
I can't really add constructive criticism... maybe the blackness right to his face is a bit disctracting (I guess you wanted to frame the face/balance the shades but I think it might have gone a bit overboard *nitpicking*
Thank you for your candor and critique, though I might debate with you about the employment of the dark area to right of Weller's face. Obviously, you understand why I did it, but I doubt I went overboard. If anything, a fault might be that the pencil is reflecting light and hence it isn't as dark as I would desire. This would be done before I realized I could get rich blacks with charcoal.
However, you bring up a good subject. Where to add contrast in a rendering is a tricky dilemma, and I hope to gain better mastery over it.
I'm glad you enjoy this piece and the film as well. Thanks for visiting!
However, you bring up a good subject. Where to add contrast in a rendering is a tricky dilemma, and I hope to gain better mastery over it.
I'm glad you enjoy this piece and the film as well. Thanks for visiting!
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