Pyramid As Viewed In Tethered Phases: Clockwork Atomics x324

Many of these drawings are of nothing in particular. Almost more of an visual/conceptual exercise. Start with a classic geometric form (a pyramid) and deconstruct it while keeping it whole. Create an object that has no definitive outside planes. Or one that is shown to be moving through itself in space. The general idea is that it is both inside out and not simultaneously. Which for me is the answer to the question of how do you get a bigger object in a smaller one. At any rate it is a hell of a way to kill time.

Orrery Of A Binary System With Five Orbiting Bodies: Clockwork Atomics x326

I would have to say that my favorite mechanical device is still the Orrery. An orrery is a model that shows the relative positioning and movement of astral bodies/systems. They can be highly detailed clockworks and are beautiful to watch. Many of my drawings have their genesis in orrerys. If not in subject then in the movement of the machine and its parts.

Folding Instructions For Turning A 2D Plane Inside Out: Clockwork Atomics x313

I remember one of the more enjoyable (maybe the only one) standardized tests I took as I child was one that tested aptitude. If I remember correctly (which I most likely don't), I performed amazing well in areas that had to do with spacial relations and reasoning. And did really poorly in areas that dealt with mechanics. The spacial part definitely played out in both work and my past times. But for the other it did not matter in any way as my fascination with mechanical devices only continued to grow. (Possibly due to my subconscious inability to understand them fully). Who knows?

Vergeltungswaffen-4 (V-4) Spacial Compression/Collapsing Engine: Clockwork Atomics x347

The Germans developed some scary technology for the time during the war. Even more frightening were the weapons and tech that never made it off of the drawing board. Tapping into every niche of scientific and arcane knowledge the projects that were discussed surely exceeded even the most wild imaginations and nightmares. This idea is continued in Mike Mignola's excellent Hellboy books. Many of which feature impossible machines and weapons.

Quantum Atomic Heart Of The Machine Of Apokolips: Clockwork Atomics x353

I borrowed a little from Jack Kirby here. A very very little but he was the genesis. The sculpting lines/tubes around the sphere gives volume and adds an element of primitive tech. Jack used vaguely similar line structures especially in his depictions of Apokolips and its technology. I have never been able to mimic his art to any degree of satisfaction but it continues to serve as a point of inspiration.

Omni-Directional Cathode Ray Emitter: Clockwork Atomics x297

A predecessor to the numerous death ray machines to come (I still lay the blame at Flash Gordon's feet). But it is the play between archaic and advanced tech that I continue to explore. Making something advanced with primitive items. One part Da Vinci and one part the Professor from Gilligan's Island.

Dr. Frankenstein's Electrical Accumulation Engine: Clockwork Atomics x359

One of my favorite sets in film is the lab of Dr. Frankenstein. I never get tired of the look of his equipment. Not sure I understand any of the devices but I love em. This design partially borrowed from those machines. On a side note: this napkin is from Morton's in Georgetown where I ran up a surprisingly large tab without realizing it.

Jet Turbine Directed Sonic Array: Clockwork Atomics x346

At some point I started adding metal plating/housing to the machines. I think this was an attempt to conform more to the idea of what a Steampunk design should be. But ultimately I gave up on making this a major component. I felt it just didn't work as well. It made the machines feel too solid. This also features a 2D front array as part of a continued experiment primarily inspired by the ray gun designs from WETA.

Astrometric Diagram Of Gravimetric Forces On A Ternary System: Clockwork Atomics x295

The majority of my early drawings were either mathematical diagrams, alchemic structures, or astrometric relationships. While that has changed and I now work almost exclusively on drawings of the machine or my new obsession concentric circles (its more interesting than it sounds), I occasionally return to the diagrams. I find them relaxing and enjoy immensely the under-drawing that occurs when working on napkins. The sketching is non correctable so whatever happens happens.

Edison Vacuum Tube Compression Death Ray: Clockwork Atomics x348

More death rays. Never never can be enough. Sadly this drawing is kinda fucked. The right 2/3 is perfect and then I ganked it. For some unknown reason I thought it would be cool that the final focusing array should be flat. Flat as in 2D. This was not a good idea. My attempts to correct this (over draw) were semi-successful. It still looks a bit blocky. But I just love the right side and I learned my lesson...sort of.

Tesladyne Dynamic Ionic Centrifuge: Clockwork Atomics x293

One of the most important elements in my drawings is the feeling of movement. The gears grinding and meshing with each other along with parts of the machine in motion. Circular rotation in the machines has developed from the gears spinning to an array that moves to my current drawings that in which all parts move. Granted they would have to move through each other. However, the contradiction of the machine's possible functionality and the impossibility of the spacial relationships I find extremely appealing.

John Cleves Symmes Jr.'s Hollow Earth Model: Clockwork Atomics x321

I love this theory. It's been kicking around as long as there has been written history. The idea that there are secret areas and hidden parts of the world is almost a dead thing. It's a shame really. Much of pulp fiction entails the exploration of the lost parts of history. I feel that the resurgence of pulp fiction's themes is the desire to regain, even superficially, some of the mystery that is gone from the world.

Da Vinci's Newtonian Dynamic Particle Death Ray Cannon: Clockwork Atomics x341

Part telescope, part clockwork, part gravity well. All super weapon. What's with all the death rays? Too much Flash Gordon as a child I guess. I blame my parents. When I was 10 they gave me a beautiful book of the newspaper comics from the 30's. It was one of my first exposures to the retro futurism and continues to effect my ideas. While the drawings and designs I produce are not Steampunk in the strictest sense, I like to think that they share a certain flavor. The idea of old or primitive technology being used to produce advanced tech is highly attractive to me. There is a certain beauty to the slightly archaic designs that never fails to catch my eye and heart.

NYC's Queensboro Bridge (59th Street Bridge) In Four Dimensions: Clockwork Atomics x290

NYC has many bridges and several are quite famous. The 59th street bridge is not one of those but it is one of my favs. I see it everyday from the train and I never get tired of it. It reminds me of something that would be built from an Erector Set. I just love its structure I guess.

Mapping Stress Planes In A Crystalline Cube: Clockwork Atomics x320

Gem cutting has always amazed me. Being able to get to a hidden shape by fracturing the whole kills me. I don't know if its true but I remember hearing stories of jewelers studying a stone for a great length of time before beginning. The matrix or crystalline structure of a solid object showing it's inner working is beautiful. Admittedly it might be in part to my being a fan of the Inhumans. Karnak rocked.

Archimedes' Death Ray Powered By Micro Singularity: Clockwork Atomics x325

Death rays. Who could ever get tired of these things? It captures the imagination with both thoughts of power and destruction. The idea of siccing devastation from afar upon an enemy is by no means a new idea. While not always called a death ray, the general idea has been around for at least the last two thousand years. Archimedes supposedly created such a device. Modern testing shows it would most likely brown bread rather than cause an inferno of death. But the idea and desire was certainly there.

Rotational Matrix of H.G. Well's Time Machine: Clockwork Atomics x317

This shape is vaguely based on 2002's Time Machine. Granted it is highly simplified but the angle was what I was interested in. Actually this is something I should revisit.

John Byrne: The Machines Of The Fantastic Four

John Byrne was my first introduction to comics. (To this day I can remember buying that issue of The Uncanny X-Men #143 off of a 7-11 comic rack in Florida.) Pictured above is one of the impossible machines of the Fantastic Four that John created. The sense of depth, detail, and possibility that it might somehow work or exist continues to captivate me. To say his art and design have been influential simply does not do justice to his contributions. While my drawings look nothing like his, it was my fascination with his creations that spurred my interest.

The Hidden Apparatus of Jules Verne: The Gimbal Free Gyroscope Of Captain Nemo's Nautilus: Clockwork Atomics x316

True true, a gyroscope should only have three rings. Three seems so limiting. While six is much more exciting. Much more. What will they do? What force are they effected by? Can you have a gyroscope without gimbals? Who cares. Ask Nemo.

Analog Turbine Grinder: Clockwork Atomics x307

This isn't actually a napkin rather one of the disposable hand towels from the wash room. Very strange consistency in the 'paper' caused the drawing to have a grey look. Not bad but a pain to work on. Anyway I was at The Capital Grille in KC a while back and was watching the bartender using a grinder that looked as if it were made 100 years ago and it made me think. How can I take something fairly simple and elegant and make it complex and seemingly highly dangerous? Well I worked out an answer.

Astronomical Clock For The Grand Central Terminal Kiosk NYC (as imagined while drinking at Cipriani Dolci: Clockwork Atomics x308

A great place to get a drink, if you can get a seat, before the drudge home (especially after returning from work on Metro North) is Cipriani Dolci. Located on the mezzanine over looking the floor it is fantastic to unwind a watch people get where there going (especially during the holidays...it can get ugly). One of the highlights of the room is the central kiosk with its beautiful clock. As much as I like the clock I have often thought of it being updated or backdated. Depending on how one looks at it. So it would tell more than time and show more one's place in existence. Giving one pause before joining the inevitable hoard and traveling off into the world. Away from what at times seems the crossroads or the center or reality. ..What can I say it was damn good scotch.

2D Plane Seen In Four Dimensions (or the folding directions to every map I have ever used): Clockwork Atomics x319

Yea, I know the title makes no sense. But hey what really does.

Arkham University's Model Of Local Astronomical Bodies (Now Discredited): Clockwork Atomics x312

I occasionally get asked if I ever throw away or abandon a drawing. Either through boredom or a mistake is made. Actually no. I make an concerted effort to work through mistakes (which many are made and none can be corrected) or push a drawing to it's limit if it just isn't working. This is one of those drawing where nothing seemed to work. When I see this "what was I thinking" immediately comes to mind. It is too much and poorly planned, but I find it interesting and important to see where it went wrong. To avoid it in the future but also to refer to it later. The difference between a disaster and a moment of brilliance is very fine.

Hyper-Dimesional Non-Euclidean Form In Phase: Clockwork Atomics x309

One of the many drawings that I have done exploring the idea of a form in phase. A solid that turns itself inside out. Where the inside and the outside of the form are connected and are one in the same. The ultimate origami.

Conflicting Irregular Pyramidal Planes Of A Spherical Body (or What I Did Between Acts At The Comix Club): Clockwork Atomics x306

I learned a couple of important things while I drew this: 1. I enjoy stand up comedy way more on tv 2. I also find it weird to have the comic look directly at me while performing 3. That while performing the comic tends to really not like it when someone in the audience is more intent on working on a tiny drawing that they are working on by candlelight than paying attention to what's on stage 4. This is not a good idea

Calculation Of Orbital Ley Line Vertices: Clockwork Atomics x289

Although I rarely include them when showing my work, many of my drawings are based on a sort of geometry. I have always enjoyed the idea that the world is not all that it seems and there is an underlying structure. The question of course is what do you do with it once you have figured it out.

Phased Cubist Reliquary For A Distorted Enlightenment: Clockwork Atomic x154

One thing that continues to amaze and fascinate me are the early cubist paintings that Braque and Picasso did. They give a sense of space that both expands and collapses. At the time I was seeing how far I could push it and still seem semi-solid.

'Pataphysical Engine For The Next Age Powered By Cubist Tesseract : Clockwork Atomics x101

After having done hundreds of these drawings, the one thing that I have learned the most is how they evolve and change. I would work in a general direction or theme and then something new would come about. This is one of those moments. Until this point all the drawings were based much more on alchemy and maths. Slowly the idea of the machine began to show itself. This is one of those moments of clarity that I continue to seek. It remains one of my favorite drawings.

Insane Caffeine Fueled View of Gravitational Ley Lines at EJ's Luncheonette NYC: Clockwork Atomics x199

Proof positive that these drawings are not planned. Its one of the things I love about them. They capture a specific time, day and mood. Better than a snap shot or a journal entry. Here I was spending several hours killing time between appointments at a dinner on the Upper East Side. Apparently I was drinking far too much coffee for far too long.