When I create my stories and illustrations, the men I create usually are deliberately put into an extreme circumstance in the story that I am telling for you. In the example below, I chose to start with the depiction of a muscular and naked guy with long hair who is dying on a cross.
I usually do not provide a lot of detail about how the character in the illustration got there so that you, the viewer, can fill in the blanks on your own.
I frequently choose an extreme angle to depict a scene. In the example of the crucified guy, I chose an unusually sharp angle that looks up at the character as if you were standing below him on the ground. Such unusual angles are intended to exaggerate the intensity of a scene.
I created yet another unfortunate guy depicted at the moment of his death at the gallows. Here again is an example of my use of an extreme angle. One of the visitors to this website offered his comments about this work:
“Showing the victim from below [is] really so fine. One of the best ways to make the viewer realize how beautiful the human body is, is to force that viewer to see it from another, unusual perspective. That way, the viewer really sees it, as if for the first time, and can admire the fine form hovering above him. Also, the body is limp in death, so there is a compelling contrast between its massive, active strength and the tragic reality of the death. That’s why you can find so many ‘Descent from the Cross’ paintings in the world’s churches and museums.”
Cock and Balls
I usually choose to depict the character’s genitals in full view. This gives your eyes a point of focus. A good example of this is my illustration entitled “Standing Firm” shown below.
My specific intent is for the depicted character to represent some highly masculine male that you, the viewer, will focus on and begin to use your mind to imagine how you might respond to him emotionally.
One of the visitors to this website offered his comments about “Stone Cross Night”:
“The heroic figure, trapped but defiant as crucifixion looms behind him, suggests a Spartacus figure. If it weren’t for the hard dick and natural skin tones, this could be a Socialist-Realist monument. Intriguing concept.”
Are you attracted? Are you repulsed? Are you both repulsed and attracted? What do you want to do in response to how you perceive of the character?
Light and Shadows
To help make the experience for you, the viewer, as realistic as possible, I deliberate use complex lighting and shadows. Sometimes, the lighting and the shadows seem to defy the laws of physics.
My illustration entitled “Very Confident Guy” is a vivid example of my use of lighting and shadows to deliberately draw your attention to the character’s manhood. Usually, my characters have little or no body hair so you will not be distracted from studying their genitals and muscular torsos.
I always choose to depict my characters with a strong respect for their appearance. They are consistently depicted as highly masculine males.
My characters usually show evidence that they have taken good care of their bodies in a purposeful way to emphasize their fitness and strength. My characters usually are muscular and youthful. No matter what fate I may assign to my characters, I consistently choose to depict them with an essential respect for their manhood and their worthiness to be admired.
I also make certain that my charters have large hands and feet that are in accurate proportion to the scale of their masculine bodies.
I work hard to create my characters as if they were real men, even though we all know that they are only fictional and cannot and do not exist in the physical world. I want my characters to look sufficiently realistic so that you, the viewer, will not think about the fact that you are viewing an illustration that is fictional.
Whenever I depict characters, there is much more than just giving him an impressive cock, broad shoulders and muscles.
My characters must have faces that you find believable and compelling. I demonstrate this in “Naked Cowboy with Machete” that is a not-so-subtle depiction of Taylor Lautner type good looks.
Too often I see illustrations for gay adult men that stop short of depicting character’s faces in ways that will convey believability and that can make you feel some sort of emotional response.
What is the point of depicting a fictional character with a face that you do not believe nor feel some sort of response in your gut or your heart?
I work to give my characters eyes that convey what he is feeling about the experience that he is undergoing in the scene. Before I am done, his face must clearly suggest a specific and easily-recognizing set of emotions that you, the viewer, will recognize.
Whether you like him or hate him doesn’t matter. Whether you feel attracted to him or repulsed by him doesn’t matter.
For me and my work, what matters is that you, the viewer, have a definite emotional response to him when you see him in my illustration.
When I depict two or more characters in one illustration, my goal is to give you, the viewer, a snapshot of something compelling that is happening to the characters.
I do not like to depict characters unless there is something going on in the scene that draws you, the viewer, into the scene.
Whether you like what you see being depicted or hate it doesn’t matter. Whether you feel attracted to what you see depicted or repulsed by it doesn’t matter.
For me and my work, what matters is that you, the viewer, have a definite emotional response to the situation that you see unfolding in my illustrations.
Those who find my work turns them off usually never come back to see anything more. Those who find my work worth a second or third look are most welcome back here to see what I have been working on since their last visit.
As in my illustration entitled “Totally Fucked” if I depict a character having an orgasm, I do not shy away from showing you, the viewer, what it looks like.
I want his juices to flow in the scene. I want the expression on his face to be orgasmic.
I want to show him enjoying the deepest sense of release and satisfaction that his orgasm can bring him.
If there are other characters in the same scene, I want them to be somehow directly involved in that orgasm.
Even if the scene is not realistic in the sense that it could not necessarily exist in the physical world, I want the depiction of the character’s orgasm to appear to be as realistic as possible.
There would be no point in depicting an orgasm if it did not turn out to look convincing and credible.
The action in the scene always needs to support that kind of credible and genuine orgasm if the illustration is going to be effective for you, the viewer.
Precious Bodily Fluids
In case you haven’t already figured this out, I depict other bodily fluids than just semen as in my illustration entitled “Crucified Cowboy Falls” shown below:
One of the visitors to this website offered his comments about this work:
“A red spray of blood coming from one arm in tis drawing engages the viewer in a way he didn’t expect — because your natural reaction, seeing someone falling like this, is to hold out your own arms to stop him. In other words, you don’t simply observe; you participate. The red arc of blood might offend some people (some people are always ready to take offense), but the same sort of insight appears in, say, late-medieval German or Flemish painting. The artist depicts an angel or two with a chalice, positioned to catch the blood shooting from the savior’s hand. Haven’t yet figured out why that’s so compelling an image, but it is.”
I also feel that showing a man pissing upon another man in an illustration adds to the intensity of the story and the scene.
One of my most extreme illustrations is entitled “Fucking His Mouth Before Beheading Him” and it does not shy away from depicting semen while hinting at other bodily fluids that will happen next in the scene:
Thank you for your interest in my work. I ask that you to please pass along word of my website to other gay adult men. –Madeira Desouza