Final war medic drawings.

Battle of Wilderness - Illustrated image showing American Civil War era doctors at work, amputating a patient. I combined the composition of the image using my model as a main environmental reference, the characters were illustrated from photos of others in the poses, and the costumes etc I found on internet images.

Omaha Beach - Illustrated image showing the aftermath of the landings, as the medics tend to the wounded, administering morphine and drip in the field. Recreated from using my model as a background, drawing poses of other people, and old war photographs.

Battle of Long Tan - Illustrated image of United States war medics evacuating an injured soldier via helicopter. Environment loosely based off my model, characters illustrated from old war photographs.

Angle shots of models.

Battle of Wilderness - Angle shot of the field of battle.

Battle of Long Tan - Angle shot of the field of battle.

Omaha Beach landing - Angle shot of the field of battle.

Battlefields - Complete.

Battle of Long Tan - Now with additional foliage, sand textures, and water effects.

Battle of Wilderness - additional bushes and long grass.

Omaha Beach - A mixture of gravel and sand have been added, as well as thin copper wire to represent barbed wire, murky water effects and a piece of plastic cut to the shape of a anti-tank obstacle.

War Medics - Battlefields - Continued.

Batte of Wilderness, with tree, sticks and first layer of paint.

Holes were cut using a scalpel to accommodate the roots of the trees and logs.

Battle of Long Tan.

First layer of paint on Omaha beach.

Battle of Wilderness - first elements of foliage incorporated, as well as grass and extra logs.

War Medics - Battlefields.

This project was based around the theme of medicine and war medics. I made three scale model landscapes of battlefields each from a different era, my characters would then placed within these environments to draw from. for the medics I used a mixture of historical war photography and real life life drawings of people posing in different shots. the different war eras would help differentiate the technological advancements between each of the scenes.

Battle of Wilderness, American Civil War (1864)

Omaha beach landing (1944)

Battle of Long Tan (1966)

All three models textured, then primed black.

Final Images

The final images I did for The Lost Scenes of Kong, these were put through Photoshop, to remove any small errors or gaps, and I also edited the contrast and some of the tones to make the images stronger.

Kong vs the Triceratops

The Poker Game.

Kong peers in the window.

The Spider Pit. 1. 

Sailor recovers from his fall only to see a giant spider emerge from the nearby cave.

 The Spider Pit. 2.

A tentacled beast rises from the pool of soft mud to seize another sailor.

 The Spider Pit. 3. 

                        The sailors try to defend themselves as more creatures emerge from the pool 

                                    and the surrounding caves, including a lizard-like beast.

The Spider Pit. 4.

A lone sailor is separated from his comrades and eaten by another spider.

The Spider Pit. 5.

The remaining sailors are claimed by the tentacled beast.

Solar Plate Etching

Here is a variation of the first image, which was created using a solar plate etching technique. The illustration was printed onto a sheet of acetate, which was then exposed onto a copper plate. With the image now imprinted on the plate, ink was spread on top then the plate was taking through the printing press. The effect is one similar to the art prints of the 1933 release, grainy and dark, the edge of the plate has also created a strong border for the image.

Kong Drawings

Here are the illustrations from each of the scenes, first drawn rough in pencil, 

then gone over again in pen. Each is drawn from the scale model for reference, save for the first which was drawn from descriptions of the scene in the screenplay. 

 Kong vs the Triceratops

Spider Pit . 1

Spider Pit. 2

Spider Pit. 3

Spider Pit. 4

Spider Pit. 5

The Spider Pit model.

Here is my interpretation of the lost spider pit. This model was created from a variety of materials, I used the films original concept art and film stills to piece together the anatomy of the scene. I also looked into the original notes in the script to gain an insight into the finer details.

The models plan is laid out on foam-board.

The cliff sides are crafted from polystyrene, I also added some smaller stones to give the diorama more weight and realism.

Side angle of the cliff-face.

The model is coated in a layer of sand and light ballast for texture.

The model is under-coated black, dry brushed grey, and given several washes of brown paint.

The model with gravel, lichen and sand. Also added is the small muddy pool, from which a tentacled beast snatches a sailor in the text.

The log bridge is added, fallen at the foot of the ravine, some extra foliage. Finally cotton wool has been spread thin around the caves to represent spiders webbing.

Aerial view. 

Close up angle of caves, the reeds were made of brush bristles. these angle shots helped me to decide to angles of my drawings and compositions.

Another angle shot with atmospheric lighting.

A shot of the upper cave that Jack Driscoll takes refuge in from Kong.

The swamp.

The main spider cave.

The Scenes.

The chosen scenes.

Most famous of the lost scenes is the spider sequence, the scene involving the rescue party encountering Kong as they cross a log at which point the enraged Kong tips the log, tossing them into the chasm, in the original only two characters survive, the remainder die from the fall, however originally they were to fall into a pool of soft mud, at which point they would be attacked by all manner of terrifying creatures, such as a giant lizard, giant spider, giant crab and an unknown octopoid. The look of horror on Jack’s face as he looks into the ravine was originally due to a large insect eating one of his crew mates, although this was reworked so it appeared he was horrified by the sight of his friends hitting the rocks in the fall. Original concept art remains, as well as some stills, but the original footage is ultimately lost. Merian C Cooper decided to cut this scene as it slowed the pacing, and people found it too disturbing, and it was considered one of the most memorable yet controversial by test audiences, not the desired outcome for the director. It also diverted the audience from the threat of Kong.

A scene where right after the raft scene with the Apatosaurus attack, a trio of triceratops charge the sailors of the Venture. Kong stumbles upon the confrontation and an epic battle ensues. He throws a giant boulder at one of the dinosaurs, which severs one of its horns. At which point the fight ceases and then one of the dinosaurs chases the sailors further into the jungle and impales one of them to death with its horn. This sequence was scripted but never filmed. Cooper believed from the start that a scene such as this would take too long and the production would be too great. As well as slow down the pacing of the film. The Triceratops chasing the sailor was filmed though (minus the impalement).

Actually it was originally a test shot from the canceled film CREATION (1932) that O'Brien was working on before KING KONG. He shot prototype footage of a Triceratops chasing a sailor and goring him with it's horn after the sailor had shot and killed its baby. The sequence of the Triceratops chasing the sailor was to be incorporated to KONG to save time. This explains why the men are still running long after the Apatosaurus had stopped chasing them, because a Triceratops had sprung from the Jungle and chased after them, eventually trapping them on the log. It also partially explains why the sailors didn't run back across the log away from Kong.The sequence was never used because it didn't match up well the King Kong footage and time taken to fix continuity would have been too time consuming and thus it was left out of the finished picture.

Fan made reconstruction

Another scene cut from the New York sequence had Kong peering into a window and breaking up a poker game. This sequence was cut because a similar scene had appeared in Harry Hoyt’s adaptation of Arthur Conan Doyle’s THE LOST WORLD (1925).