Loteria Number Nineteen: La Pirata (The Pirate)

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(AUTHOR’S NOTE: The following post starts out with one of those weird-ass tangents about something that may or may not speak to the whole bonesmithing process, specifically the importance of numbers. As someone who hates math with a kerosene-burning passion, I won’t be all creaky or weepy if you just bump down to where the rest of the pictures are. Seriously, now.)

One of the biggest design-related pratfalls that I’ve had to contend with during my shift into making “commercial-caliber calacas” was coming up with some sort of uniform concept for the bases. I use the same standard three-by-five, off-the-shelf craft plaques that artists like Jerry Vigil and Clay Lindo do, but I’ve also bumped up against fundamental design issues when figuring out what the heck to do with them: is it enough to have a character standing on a street? Does it screw up the basic aesthetic (or hedge on offensiveness) if I use a flag motif? Should I try to incorporate some basic impression of a setting (i.e. floorboards, a carpet, a hopscotch game) or just try to separate it from the design of the figure, itself?

As I touched on during my meandering write-up about the La Revolucionaria piece, a lot of this was alleviated the moment that I came up with the loteria concept. This didn’t just give me a solid, brand-style “go-to” in terms of differentiating my work from that of my talented contemporaries (Much like Jerry’s preference for using a striking cobalt blue on his calaveras, there’s no mistaking a “Tamra Kohl skull” or a Nee “micro-sculpt.” In a medium where you’re basically all playing with the same half-dozen bones, having something that separates you from being just another person messing around with another culture’s tradition is pretty damn important, all said), but provided for another unexpected benefit: raw, unalloyed inspiration.

I can’t claim to know much about numerology, but I do know that numbers are sewn right into the fabric of who we are. The whirligig of life only stops occasionally for birthdays, anniversaries, death-dates and other points of interest, the majority of which are stapled firmly into our consciousness through the indelible presence of a number: I may not remember what color my shirt was on the night of my first kiss with the woman who would eventually become my wife, but I can tell you that it happened thirteen years ago, on November the 16th. Memories slip, feelings fade, but numbers—once committed—do not slide.

That being the case, the use of a number—simple as it seems—has become something to strike sparks off of. For example, this piece: originally intended to just be a “lady pirate” (Inspired from the Anne Bonney frescos that were once in the Pirates of the Caribbean ride queue at Disneyland) it instead turned itself into a gift for a longtime friend, based on little more than the question of what its designated numero would be.

“A dolly? The surprise is a dolly?”

Sequentially, it would have been number five, in the series. But in terms of impressing a specific point—that being the fact that I had known the person in question for nearly twenty years—it suddenly seemed more appropriate to brand it as number nineteen. At this point, I’m still clinging to the silly vanity that I’ll be able to make it to the century mark with these suckers, someday: as such, each number should only wind up being used, once.

19.

Nineteen won’t get a better or more-deserving shake, which sealed it: as a result, I completely changed the character’s design and shifted gears from it being a generic conversation piece to a tailor-made token of my appreciation for a nearly life-long friendship. As a new mom, “Captain TEC” wound up cameo-ing her lovely baby daughter, along with another earmark of our mutual, geeky interest: a copy of the same Guybrush Threepwood voodoo doll that Ghost Pirate LeChuck is brandishing on the cover of the original Monkey Island 2 game box. The simple inclination of changing a number breathed an entirely new degree of life into what would have been just another skeleton in search of someone to love it, which—as I’ve rambled on about before—is one of those things that keeps you going, as an artist. Ebb or flow, you can at least count on the gratitude of the people you care about to keep your levels of inspiration on the up-and-up.

Another bonus: making these for friends means that they probably won’t send them back. On some days, that’s a cause worth fighting for.

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7 responses »

  1. Pingback: T.G.I.F. | Dead Deco

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