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i wasn't going to upload this because i'm not happy with it at all but 
marcothecat insisted. so blame him. go on, he likes it. i will use it to go on a rant.
it's really difficult to draw a mask melding to someone's face. and as an illustrator of the concept, it's even more difficult to make it narratively obvious. if it's not immediately clear that's what's happening, i'm not doing my job right as an artist. it's a bit of a design challenge. it'd be pretty easy to do a creeping liquid latex, venom-from-spiderman-style transformation, but to me that always reads as body coverage, not transformation, and they're two very different things.
chiefly among the issues of mask-triggered or costume-triggered transformation, if you're approaching it as an erotic artist, is being able to convey the sensual aspects of the transformation, and that becomes really difficult when what's happening is principally hidden under an outer layer. mask tf provides a unique challenge in that regard because you're hiding most of a person's face for the greater part of the transformation and can't rely on their facial expressions to clue you in on what they're feeling. it's even harder if, like me, you enjoy the whole facial expression/mental state mismatch aspect (e.g. my face is grinning, but my eyes are clearly distraught) which can lead to the two expressions merging into a single confusing grimace that doesn't say anything to the viewer. that's definitely what's happening here in this picture which is the reason i don't like it much.
but! it's still possible, because i feel like i've done it before, and other people have done it right too! i just feel like you can only go so far with certain gimmicks (the venom thing, the "i took my mask off and my face is the mask underneath" thing, the cutaway view/transparency thing, etc.) before they become stale and lose their potency to arouse, which is what i'm really trying to get at here. :D
how would you other artists draw a mask-triggered tf?
marcothecat insisted. so blame him. go on, he likes it. i will use it to go on a rant.it's really difficult to draw a mask melding to someone's face. and as an illustrator of the concept, it's even more difficult to make it narratively obvious. if it's not immediately clear that's what's happening, i'm not doing my job right as an artist. it's a bit of a design challenge. it'd be pretty easy to do a creeping liquid latex, venom-from-spiderman-style transformation, but to me that always reads as body coverage, not transformation, and they're two very different things.
chiefly among the issues of mask-triggered or costume-triggered transformation, if you're approaching it as an erotic artist, is being able to convey the sensual aspects of the transformation, and that becomes really difficult when what's happening is principally hidden under an outer layer. mask tf provides a unique challenge in that regard because you're hiding most of a person's face for the greater part of the transformation and can't rely on their facial expressions to clue you in on what they're feeling. it's even harder if, like me, you enjoy the whole facial expression/mental state mismatch aspect (e.g. my face is grinning, but my eyes are clearly distraught) which can lead to the two expressions merging into a single confusing grimace that doesn't say anything to the viewer. that's definitely what's happening here in this picture which is the reason i don't like it much.
but! it's still possible, because i feel like i've done it before, and other people have done it right too! i just feel like you can only go so far with certain gimmicks (the venom thing, the "i took my mask off and my face is the mask underneath" thing, the cutaway view/transparency thing, etc.) before they become stale and lose their potency to arouse, which is what i'm really trying to get at here. :D
how would you other artists draw a mask-triggered tf?
Category All / Transformation
Species Unspecified / Any
Size 622 x 737px
File Size 94.9 kB
I think you got it.
The eyes have yellow rings and are looking down at the snout, so they're probably not painted onto the mask, and we'll assume the person didn't have Wilson's disease.
Also, drool is dripping from the teeth, far in front of the vertical plane including the eyes. Unless this is a specially equipped mask with a water squeeze bulb or prop hose that isn't drawn here, we can assume that the drool is coming from the wearer's stretching mouth, and the tongue is wet even though it is longer than a human tongue.
The eyes have yellow rings and are looking down at the snout, so they're probably not painted onto the mask, and we'll assume the person didn't have Wilson's disease.
Also, drool is dripping from the teeth, far in front of the vertical plane including the eyes. Unless this is a specially equipped mask with a water squeeze bulb or prop hose that isn't drawn here, we can assume that the drool is coming from the wearer's stretching mouth, and the tongue is wet even though it is longer than a human tongue.
I see the tongue as the biggest give-away of what's going on here.
But seriously, without a description story or sequential pics, I have no idea if this is "do-able".
I can't think of people pulling it off (they might have... but I can't remember since I don't look at art like an artist) without at least a pseudo-animation partial overlay (like drawing 4 arms and action lines to show waving their arms).
But seriously, without a description story or sequential pics, I have no idea if this is "do-able".
I can't think of people pulling it off (they might have... but I can't remember since I don't look at art like an artist) without at least a pseudo-animation partial overlay (like drawing 4 arms and action lines to show waving their arms).
Well it depends... I think I got it right here in a sense, and here works well too! And then there's this one where I think where i tried something different by making the skin a bit "stiffer" and having it wrinkle as if it was made of a completely different material, which i think worked pretty well. Speech bubbles also help. I dunno. Like I said, it's been done right before, but if I took to one solution and stuck with it every time, it'd be really boring after a while. ^^
Well, if you are really worried about this (I repeat, I think it works) remember that a person's reaction to something can sometimes indicate more about a situation than not. Have his arms sort of clawed up in horror. Maybe a feeble attempt to pull the mask off his face? As I said, I think it works, but you are a skilled enough illustrator to figure out this problem. I believe in ya
There's no better way to illustrate it than putting emphasis on altered physical properties, what happens when poking or pulling the affected places. I imagine the mask part would be much harder than the rest of the body. Now if this were animated, you could afford that hollow plastic shell sound...
I think another way to have the mask transfromation work is to have the head being sucked up into the mask while different parts of the face goes into their proper locations, like the ears would be trying to merge with the mask head rather thatn having one of them eventually fade. I also had another idea where a costume changes into a person while the person changes into the costume, but not so costumy like and the change happen some time after the person got the costume off to see it transform into a replica costume version of themself.
I agree completely with your assertion. While my artwork isn't geared towards the erotic, i run into the same issue with purely comical or shocked expressions. A mask simply put hides a face, and trying to use it as a tf medium presents the problem by blocking facial emotions. I'm not so much a fan of costume avenue, and as you put it, it overlays existing flesh, rather than warping it. Along with the "mask within a mask" version it seems far too artificial to be a satisfying trigger especially when most of the impact comes from faces.
While my work is a far cry from the naturalism you achieve, i think I can offer some input. Your piece here is clearly a transformation, however like when I've attempted these the motion and changes seem too confined to the mask, and the human wearing it's emotions are completely muted. Except however for those eyes, you can see the man behind coming through there- and that's what makes this piece "successful". As :marcothecat: stated, hand gestures would probably strengthen the emotion that the mask limits, or any gestural motion in response to his warping face. Another idea is to bring some of the human forward into the mask, maybe retaining his eye color and shape- allowing for some of the original identity and expression to come forward as well.
Just a suggestion, great work as always.
While my work is a far cry from the naturalism you achieve, i think I can offer some input. Your piece here is clearly a transformation, however like when I've attempted these the motion and changes seem too confined to the mask, and the human wearing it's emotions are completely muted. Except however for those eyes, you can see the man behind coming through there- and that's what makes this piece "successful". As :marcothecat: stated, hand gestures would probably strengthen the emotion that the mask limits, or any gestural motion in response to his warping face. Another idea is to bring some of the human forward into the mask, maybe retaining his eye color and shape- allowing for some of the original identity and expression to come forward as well.
Just a suggestion, great work as always.
Glad you put it up. I saw it was worth it. Looks pretty cool.
As for your ideas they all are good thougths about it and everything. But I think you left out one thing also. Curiousity. If you look at your piece, yeah he doesn't have any emotions showing, but he's exploring it. Almost like he's just realizing that something isn't right.
Like the best example for that I can give is like he knew that this was going to happen, but wasn't too sure if it would. Then after putting it on he starts to realize and starts feeling his rubber teeth for the first time.
All in all there could be thousands of possibilities. But there is only one that counts. Yours. Since you are the artist. It's you who chooses what they feel. What goes on. And what others would see and feel from it. It's all up to you.
As for your ideas they all are good thougths about it and everything. But I think you left out one thing also. Curiousity. If you look at your piece, yeah he doesn't have any emotions showing, but he's exploring it. Almost like he's just realizing that something isn't right.
Like the best example for that I can give is like he knew that this was going to happen, but wasn't too sure if it would. Then after putting it on he starts to realize and starts feeling his rubber teeth for the first time.
All in all there could be thousands of possibilities. But there is only one that counts. Yours. Since you are the artist. It's you who chooses what they feel. What goes on. And what others would see and feel from it. It's all up to you.
Not going to answer your question.
Onto the pic-- WOW. Keeping the eyes and eyebrows as they are is pretty sexy.. but what I like are how big the lips, the tongue-licking, the salivating, and the mouth-opening all are... Especially the tip of the muzzle's color change versus the rest of the face... and where you've colored the plastic versus the normal color of the newly-glued-skin.. :D
I am glad you uploaded it in the end. Thanks. There could be tons more we need to see. >:3 nEED.
Onto the pic-- WOW. Keeping the eyes and eyebrows as they are is pretty sexy.. but what I like are how big the lips, the tongue-licking, the salivating, and the mouth-opening all are... Especially the tip of the muzzle's color change versus the rest of the face... and where you've colored the plastic versus the normal color of the newly-glued-skin.. :D
I am glad you uploaded it in the end. Thanks. There could be tons more we need to see. >:3 nEED.
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