Last time I mentioned some drawings, and suggested that these were an integral part of the build process. To be fair, most of these drawings simply do not merit photographing, as they would appear little but a collection of scribbles with more scribbles layered over the first; the were created in an effort whose singular matter is to make sense for yours truly; however, this project is its own beast, and I have found myself in a press to sort through the rubbish in a more practical manner.
Namely, the sequence of construction has been the main monster here. Each part of this puzzle reaches to differing heights, and we have had to take some considerable time to think through the actual process of the construction –in part because I wanted to be certain that each step would make the previous one harder if not impossible both to amend and/or to correct, and in part because the manner in which each table must work independently of the others, with its neighbor in order to create a 6x4 table, and with the adjoining pair in order to create the 8x6 table. It was all making my head swim a bit.
Enter translucent vellum.
I placed the first layer of vellum over my chickenscratch and sorted out the base level. I was then able to add a layer of vellum for each current layer of the table (3), and thereby isolate each of the elements. This, by the by, has helped the long-suffering Tall Paul visualize what on god’s green earth I have been banging on about these last weeks.
This time round, we have to get it right from the ground (or rather from below ground) up. So the first drawing represents the wall sections (mostly, but also a bit more) that will be “belowhive.” This space will be playable to varying degrees on all four individual tables, and is intended to invoke the city upon city upon city of the hive structure, which rightfully extends outward to the very foothills. It will be derelict and rusted.
The second layer (the image above and right) offers the major parts of the build from just above ground level and upward. As might just be able to imagine, the city primarily lifts on the SW corner of this particular table, suggesting that strong vertical leap common to almost all hive images I have found. By contrast, the NE corner and environs is meant to leave space for those all-important industrial wasteland areas so fundamental to Armageddon itself while still hinting at development and abandonment.
The final layer of vellum does not show much really, but leaves me some space to think about how and where this table will reach its apex. To be candid, I need to see the height and feel the weight of these first three basic levels before reaching higher on this table.
The final images here show a bit of visual research that I have been collecting on my newfangled phone while walking in the city; it never ceases to amaze how much inspiration lays around town waiting for me to notice.
The first two photos were taken above one of the seedier blues bars in the neighborhood, which seems oddly appropriate. The real interest, to my way of thinking at least, is the manner in which the blue-gray color offsets the rusted elements breaking through underneath.
The second two photos show smaller details, but again with the same contrasting rust. The utilities cover makes another nice contrast while the random rusted pipe cannot possibly be up to code. I hope to invoke both across the industrial hive grit.
The final photos are of the “L” train near my house. There are several elements here that I want to translate onto Armageddon: the rust (naturally), the layering of transit above ground (with workable space above and below), and the rhythmic and skeletal complexity of that structure.
I have several more sets of “visual research” photos from around the neighborhood, each of which will be featured and discussed in some manner. Moreover, keep an eye for next post when I show the pre-assembly painting progress on the belowhive areas, and the aforementioned rusted decay.
Also, I strongly urge you to contribute to the Heroes of Armageddon project, and thereby to Doctors Without Borders, until it hurts.
[and now for the second installment of Chicago trivia on this blog: Chicago’s L train earned its name because it is “elevated,” though some will argue the same because it is “electric.” Obviously, I am in the first camp. That concludes the trivia portion of this post.]