d367 Rita Mordio 2013


I don’t really get much time to read these days, but I’m slowly working my way through Nassim Taleb’s Antifragile. In this book Taleb describes systems which he classifies as “fragile”, “robust”, or “anti-fragile”, depending on how well they react to the chaos of the world. This post’s painting is tenuously related. I’ll quote Wikipedia for a brief synopsis:

“Some things benefit from shocks; they thrive and grow when exposed to volatility, randomness, disorder, and stressors and love adventure, risk, and uncertainty. Yet, in spite of the ubiquity of the phenomenon, there is no word for the exact opposite of fragile. Let us call it antifragile. Antifragility is beyond resilience or robustness. The resilient resists shocks and stays the same; the antifragile gets better”.

I described a drawing “theory” way back in d266 stating that the big picture is more important than the small picture: if your entire image is about “right” it won’t be affected too much by individual “wrong” lines, which is suggestive of a robust system in Taleb’s world. I guess the motivation behind the following painting is to push that boundary.

Rita is the most broken character in Tales of Vesperia as she can do infinite combos by herself (admittedly by virtue of the 360 version being something of a beta). She actually has a number of paintings in the past, but they are mostly all rubbish.

What makes this painting different is that the lineart is actually a pure HB drawing in which I made no effort to clean up backdraw, junk lines, or smudges, so it’s really just a rough sketch.

I tried to paint a little “looser” than usual, but I didn’t intend for the process to be fundamentally different from that of the Aria Trio 2012 painting. Somewhere along the way, it might have gotten kind out of hand. I don’t know anymore if I’d consider it fundamentally different or not, but I am definitely making more use of that pen tool, which I have been babbling about since d358.

Whatever the case, this thing turned out surprisingly well, especially for an experimental. I think this particular lineart compliments this particular paint job pretty well in that the pencil is more of a guideline and the colors do most of the heavy lifting. The balance is a bit off in the background, but I’d say this is the closest I’ve gotten so far to that holy grail of lineart-less paintings.

I particularly like the metallic bits: her goggles, tape measure, and magnifying glass.

I’m not sure how well this sort of thing will go over when the content is less rawr.


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