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Dystopia

A Taste of Tomorrow: The Dystopian Boxed Set by Chris Ward, David Wright, Hugh Howey, Sean Platt, Tony

By Chris Ward, David Wright, Hugh Howey, Sean Platt, Tony Bertauski, Jason Gurley, Saul Tanpepper, Colin F. Barnes, T. W. Piperbrook, Deirdre Gould, Joe Nobody, Joseph Turkot

A style of the following day - The Dystopian Boxed set comprises eleven books from many of the greatest names in dystopian literature in one assortment. each one tale features a fresh foreword by means of its writer.

Note to readers: a few tales of the gathering are the 1st e-book in a sequence, and others are standalone novels. web page count number numbers are indexed subsequent to every e-book for reference.

THE tales:

Sand: half 1 - The Belt of the Buried Gods via Hugh Howey (40 Pages)

Yesterday’s long gone: Season One by means of Sean Platt and David Wright (503 pages)

Apocalypse flow via Joe not anyone (314 pages)

Contamination 0 via T.W. Piperbrook (95 pages)

Artificial Evil through Colin F. Barnes (272 pages)

The Tube Riders through Chris Ward (449 pages)

Halfskin through Tony Bertauski (260 pages)

After the treatment by means of Deirdre Gould (415 pages)

Black Hull by way of Joseph Turkot (317 pages)

The guy Who Ended the realm by way of Jason Gurley (270 pages)

Gameland: booklet 1 - Deep Into the sport by way of Saul Tanpepper (130 pages)

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Extra resources for A Taste of Tomorrow: The Dystopian Boxed Set

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Once you’ve done a few of these, you can elongate, compress or otherwise torture any image you see without the help of Mylar or mirrors. Compressed Old Hat This series of distorted self-portraits was done by looking into a sheet of mirrored Mylar. To do this, pin or tape the Mylar so that it bends in various ways—and hold very still as you draw. Most of these were done in vine and compressed charcoal with the help of a kneaded eraser. 48 Slim Flat Hat Asymmetry Mosaic Cowboy The drawing below was done from reflections in a mosaic mirror.

Crumpled paper, put under a strong light, reveals dozens of small planes and edges. You can capture these in a drawing by carefully observing the shapes: first the overall shape of the paper, then the shapes of the creases and facets. Squint often to distinguish the strong from the subtle. MAPPING YOUR SUBJECT Mapping the major shapes of your subject is a key first step in drawing complex damaged objects. This makes filling in the unusual planes and shadows a manageable problem. DENTED METAL Drawing shiny, reflective objects like these crushed cans requires a patient rendering of shapes, as well as a clear distinction between hard and soft edges.

Occasionally I would rotate the paper to find room for a new doodle. After about a year of this I began to get artsy, touching up some doodles and obscuring others. I started using white paint to highlight some of the images. ” Parts are done at different times, some on top of each other. There’s no planning, no central theme. The work becomes a kind of tapestry. Its variety derives from the simple fact that it’s much easier to think of one image a day for a hundred days than to think of a hundred images in one day.

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