This one was a collaboration between myself and the witness. Someone I met at a UFO conference a few years ago. If you go to any UFO conferences make sure you bring your sketchbook! It was done with mechanical pencil. Enjoy!
Here's another one. These are the sketches I did of a being seen in Thailand, based on the witness drawings and interview. More of your standard Gray alien than some of the others. I usually start with pencil than use the Pigma MICRON 005. Very useful. Can create a fine line like a technical pen but no maintenance required. I keep several around at all times.
I cleaned up the drawings, darkened the eyes, and did the layout in Photoshop CS2. The eyes should actually be blacker and shinier, but I wanted to show some of the ring structure that was in the original drawings. The skin should also appear a little smoother, like a dolphin, but maybe just a little darker shade of gray.
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One thing I really recommend you for though is that I would recognise your work straight away. These Aliens are going to be burned in my head forever and be connected to the name Dahami.
That is a feat in itself!
Rossipoo and Janos, thanks for the suggestion and comment. As for using reference, I shall have to find some decent photos of aliens, but unfortunately they are a bit camera shy, and have a tendency to cause problems with recording devices. I guess I could try studying some photos of human beings, skulls, lizards and so forth, as these have some of the visual characteristics of reported aliens. Janos, I'm glad to hear that you can recognize my art. If you do a Google image search under "reptoid" you will find some drawings by me and many by other people. Can you tell which is which?
These sketches I did years ago when researching the Targzissians from abductee Riley Martin's book The Coming of Tan, based on the descriptions and drawings provided in the book. These sketches represent my attempt to interpret Martin's drawings in the context of what I had learned about reptilian beings from other cases. Just what does a Targzissian look like? Well, up until now these sketches haven't been published or posted anywhere, so Riley Martin has never seen them. I hope I've come close to what he was trying to communicate in his book.
In 2008 I had jury duty and while waiting to be seated on a jury I did the three smaller reptilian sketches you see here. Anytime you do something that involves lots of sitting around and waiting it's a good idea to have your sketchbook with you.
The larger reptilian head in the lower right corner is based on some black and white photos of a reptilian bust that is shown on page 96-B of Valdamar Valerian's Matrix II: The Abduction and Manipulation of Humans Using Advanced Technology. This book (copyright 1990/1991) was one of the first publications to use the term "Greys" to refer to the small gray aliens. In fact, I've never seen a book with a copyright earlier than 1990 that uses that term. Matrix II is a fairly obscure book that I was able to find at a metaphysical bookstore in the early nineties following a lead from someone when I was researching reptilians.
I don't know who created the bust (could also be a full-head mask) that is pictured in the book but it was an important influence on my early drawings of reptilians, and I have revisited it in many ways through my drawings over the years.
These drawings were done in pencil, and you can see from the line work that I am not someone who can get the lines right with the first stroke. Much of the way I draw is based on erasing and redrawing the lines that are not quite in the right place with respect to the rest of the image.
More Grays! These are some sketches done in pencil, except for the one on the far left with the large cranium, which made it to the ink stage (Pigma MICRON 005, of course).
In the one next to that one you can see a hint of sclera outside of the solid black portion of the eye. Some experiencers report a shiny gray tone at the outer corner of the eye, which may be sclera. This drawing is based on one done by J. Galante, who is perhaps best known as the person who did the art for Jim Sparks' book The Keepers.
The anatomy is fairly simple compared to human beings. Very little suggestion of muscle definition or bone structure (except possibly the cheek bones, pointed chin, and ridge above the eyes). Even so they are very strong. That skinny little neck is like a steel rod, and their grip frequently causes bruising. Yes they have fingers. I just didn't bother to render those.
I wish I knew more about their feet. If you ever see one please get a good description of the feet for me, before you look into the eyes. Once you look into the eyes they've got you.
These I did in 2008. They were inspired by the drawing of the Draco warrior that appears on p. 158 of Stewart Swerdlow's book Blue Blood, True Blood. They're just unfinished sketches, but even so I like the way they turned out. You can see that the ridge that runs down the forehead has subtle bumps or waves to it. Also, the scales on this warrior being are depicted as somewhat larger than on most of the reptilian beings I've drawn, in keeping with the reference image.
The picture in the book shows only the front view, so I decided to turn the image in my mind based on what I know from other cases, and anatomical necessity. The match between the different images isn't perfect. I just wanted to make sure that they at least represented a similar-looking member of the same species. These sketches were done with a mechanical pencil and an eraser. The eraser is an important tool for me, until I'm satisfied with my line work.
These drawings were originally done in the 1995 to 1996 time frame, but I cleaned them up a little in Photoshop for posting.
This being was described as a very loving and familiar female being who communicated with the witness via dream control. She jumped back in surprise when the witness woke up during the process. The witness fell asleep again instantly, as if still under the being's mental influence. I asked the witness to estimate the weight of this being, who had been on the bed. The guess was about thirty-five pounds.
These drawings are done in ink.
Last edited by Dahami; May 29th, 2009 at 09:24 PM.
Reason: Add more information
This drawing was originally created for Joe Lewels' book The God Hypothesis. However, I was not satisfied with the anatomy and scales, so I created a revised version for actual publication. I'll post the revised version at some point in the future. This is a composite image of a reptilian alien based on my research as of the 1996 time frame when Dr. Lewels was working on his book.
Notable is the chest area, which is represented here as covered by more-or-less ordinary scales (though perhaps larger and smoother than scales on other parts of the body). In some cases the chest is actually covered by a large and very hard breastplate or plastron that may resemble a turtle shell. In some cases it is covered with a series of wide ventral plates and bears some resemblance to the belly of a snake. The reptilians seem diverse, but with many common features. I will, of course, be posting more drawings illustrating these variations in the future.
I have thought about adding more shading and color to this drawing to make it look more vivid and three-dimensional. Hmmm... Maybe I will, maybe I won't.
I'm facinated by your sketchbook and all these alien guys. Great stuff. I wouldn't change a thing. In fact, I'd love to see a gallery showing of all your abduction/alien work. Along with explanations and details of what each image represents.
This image is one I originally created in 1998. I started in pencil, and then drew over that with a fine black pen. I spent a little time recently cleaning it up in Photoshop and trying to make it look just a little more three dimensional. It is a high-ranking reptilian male with a hard plastron or breastplate that resembles a turtle shell. This breastplate becomes more pliable lower on the torso, and at the lower abdomen grades into the surrounding skin. As for the sex organs? These guys do have them, but they keep them neatly tucked away when not in use.
I think your choice of medium poor. Your obvious lack of skills and basic technique to capture even a requisite amount of information regarding your subject choice is also detrimental to my viewing experience; furthermore, I find your smudgy lines distracting and your generalized scale patterning to be non-realistic and childish. I think you should pick up some coloring books and practice coloring in the lines. For reference, you should visit your local elementary school and look to your local elementary artists for guidance. For example, look to budding artist "Little" John Smith, a 6 year-old of Riding Elementary school, to shed some stylistic and medium choice clarity on your deficiencies. In addition, I believe Rachel Tyko, a not-yet-enrolled but future elementary school enrollee, to exhibit a great capacity to "color in the lines," and I think you would find her representations of v-shaped birds and turtles to be particularly instructive.
ghoulio, I never counted the scales... It's interesting, though, that the size of the scales in proportion to the rest of the being's features is important in portraying the being accurately, and the number of scales depends on that ratio. I've spent a great deal of time looking at lizards and snakes, and I know that scale counts are used by herpetologists to discern between species.
Eric Lofgren, I love your work. You've done some reptilian humanoids in your day too, haven't you?
Janos, I appreciate your comment. Always good to hear from you.
teroteki, thanks for your comments. I'm actually trying to portray these creatures without any particular stylistic influence, but some of that is inevitable based on the fact that I'm a unique individual with a particular way of handling the media I use.
BlitzKev, I doubt your sincerity. I suspect that you are responding to my recent comments on another thread to the effect that I'm not a fan of watercolor. As for scale patterns, I know I have trouble wrapping them around three-dimensional objects in some cases, and that leads to a lot of re-drawing the lines. I realize that many artists at this site have far more experience and skill than I and could probably take this material further than I have, if they should choose to do so. I'll offer what help I can to anyone interested in doing so.
Funkshion, thanks. I will persevere, but in my own time, as I have a "real" job working in retail.
your style is very flat. but it almost works together as a whole. it reminds me of 50's sci-fi which I like. however you need to add more angular lines when doing muscle work, other wise the muscles tend to look too rounded and mooshie. Don't get too caught up in detail.
Dahami, I disagree, and while you may think you have trouble with expressing the contour of a representation with scales, your problem actually consists in your choice of medium. You're not using the correct medium to express the 'texture' of what you're trying to represent. If you're trying to accurately preserve the likeness of what you're failing (note: your failure is primarily attributable to your medium choice, for I believe that you should consider a medium specific to your purposes, and, in that vein, you should scrap whatever "progress" you've achieved in this sketchbook) to depict, then you should seriously consider optimizing your medium choice. Here's the medium you should have been using:
1: [PHOTO MANIPULATION (i.e., to reiterate: the medium you should be focusing your efforts on)]
First and foremost, let me start by saying that I'd heartily recommend that you consider photo manipulation due to defective quality of your draftsmanship. I can't even understand your pictures because of the smudgy, under-confident, scratchy, and inconsistent quality of your lines; and I'd hasten to admit that they're unduly interfering, to the point of distraction, with my viewing experience of the 'subject'. Furthermore, photo manipulation would allow you to cull from nature's rainbow of texture, color, etc., to express whatever the abductee's report to be appropriate based on their first-hand encounters. Moreover, I believe the sampling of nature's textures (say, provided by your local zoo's lizards, etc.) in the photographic medium to truly authenticate the documentary nature of what an artist is SUPPOSED to depict when they are merely translating an abductee's account into a visual representation of said account. Finally, even though it may be difficult to achieve what you want to with a photograph as you are dependent upon nature to go along with you, I think the 'manipulation' aspect of the medium of photography, specifically photo-based manipulation, to allow you to fully express whatever it is that isn't captured in the photograph (because of your low level of knowledge I think (and I don't think I'm in the minority here) that you could achieve better results by choosing a less visually distracting medium); for example, an incorrect scale hue can easily be remedied by way of a simple photo tweak in Photoshop or some similar program, and you can roughen the look of the photograph, etc., wherever you find it necessary; simply collage your manipulated photographs to acheive what's most appropriate based on the information you've been provided with first-hand (second-hand, whatever-hand, etc.) by whoever/whatever is informing you.
P.S. Just because you seem to be comfortable with what you're doing, doesn't mean that you're doing the right thing. Penultimately, you're failing the abductee with your medium choice, and the inequity with respect to said abductee's treatment is clearly demonstrated by your refusal to select an appropriate medium. Lastly, Your choice of medium is truly in poor taste, because you're not choosing what's most effective for the viewer for purposes of communicating what needs to be communicated (i.e., a documentary visual representation of an abductee's verbal / written account).
Last edited by BlitzKev; October 5th, 2009 at 09:42 PM.
moosepaws, thanks. Angular lines may do the trick, and it's true that if I don't get the line work right to begin with, then the time I spend rendering details is kind of wasted.
Well BlitzKev, if you're being serious, then thank you. I know that it is possible to achieve a good scale texture through photo manipulation, but one has to pay a lot of attention to lighting and the angle of the scales and so forth in the source photo. Not to disappoint, but at this stage I'm not quite ready to get into that.
I also think you are trying to make a point related to what I said in Main Loop's thread. I think archipelago said it best: "I think you are trying to project your own artistic goals onto other people, and it is just not going to work. Try and reach those yourself."
My current artistic goals don't include the use of photo manipulation, but perhaps at some point in the future.
ahhh, yes. all the 'classics' are represented here. I used to read UFO books all the time when I was little. obsessed, really. Now of course these are all pretty wacky and look like they are from The Outer Limits, but as a kid they were horrifying.
The only type I don't see represented are any 'hairy' bigfoot types, just with really long arms. I recall reading about them here and there, mostly seen in Kentucky and Brazil.
As fine art, the simplicity and subject matter in the simple painting is fine and even appropriate. However, from an artistic standpoint, you might want to paint real people and other subjects from life for awhile and then come back and do some more alien portraits and see if your craft has improved.
Randis, there are a handful of reptilian sketches I've done within the past few months, that I will be scanning and posting at some point.
CENOBITE, I have a few images of hairy bipeds and "Littlefoot" (short versions of Bigfoot, very rarely reported) and I will post these at some point. I understand what you are saying about painting real people and other subjects from life, though I don't expect to be doing that any time soon, for simple lack of motivation (I'd rather be playing computer games). Still, the exercise would help me with some of the basics.
Very often when I am looking at images of aliens created by others, I also look at the depictions they've done of human beings, since I know what humans look like. Then I can see to what degree their human representations differ from the real thing, and in what ways. Then I have a point of reference for what I might need to change in their alien images to make them more accurate to what they are trying to represent.
Hey! I think the vast number of scales is a bit distracting. You dont need to draw every single detail, try hinting a few of them and let your mind fill in the rest. This is kinda like trying to find a focal point, but the scales are all in the same intensity so all try to catch the eye. Try toning it down and I think it will be a lot better!
Bendragon, Yes I could just suggest the scales. There are situations in which that's entirely appropriate. For example, if I was putting one of these reptilian beings in a scene to show what goes on in a UFO abduction scenario, or if I was focusing on showing the heavy bone structure, pronounced tendons and well-defined musculature that characterize most of these beings. But part of what I'm doing is to try to determine what the actual scale pattern is, or at least to narrow down a range of possible scale patterns consistent with the witness descriptions. Consider it like scientific illustration where you are attempting to show something very specific. I want to know not just what reptilian beings look like, but what the scales look like, how big they are, what the texture is like and how they are arranged on the body. Perhaps, however, in the future I will put up more drawings where the scales are only suggested. Then, of course, the question becomes: "What's the best technique for suggesting the scales?" That depends a lot on how smooth the scales are, what shape they are, the direction in which they "flow" and so on.
This sketch is based on a drawing shown at a presentation on Reptilian Beings by Joe Lewels and Barbara Lamb. The head is more "primitive" looking (or less human-like) than some of the others. Most important about this image is the series of snake-like ventral plates that cover the chest and abdomen, in contrast to the solid breastplate, or simple scaly hide, reported in other cases. Also notable is a hand with only three digits.