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[possibly]

Have you looked into nano material (e.g. nano carbon). There's a really strong flexible material that outclasses Kevlar, I can't remember its name off the tongue (It's definitely a carbon structure though).

Have you thought about inventing your own material? You could have a material made from carbon and helium molecules. The idea being the helium would draw the carbon closer to one another giving the material a greater density; of course, the only problem would be explaining how helium was forced to share its electrons without completely separating. You could possibly use a bit of science fiction with a less than scientific application of dark matter, so you could use dark matter's macroscopic theoretical influence on a microscopic scale to force the helium to remain in the exact same position where the carbons could possibly have enough of an electrostatic force to strip the helium for a second in a dipole-dipole convalent bond (and I mean in terms of science fiction, in real life that helium would've [spoiler]fucked[/spoiler] off before I even spoke the first syllable).

How many writers does it take to change a lightbulb? Five: one to change the bulb and four to talk about how Ernest Hemingway would have done it better.
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What has four legs and an arse hole? A writing desk.

Hahahahahah! That's bloody hilarious!

Right then, before I begin my next message, I'd like to thank GordonR for some further insight.

More information on the piece (and I'm going to try and make this a bit more informal):
Just to give you an impression of the comic, I'll throw the name out there: 'Psychedelic Entropy'.

The script I'm clumsily searching for an artist for is centred around the real life issue of people entering a boring, restrictive dilemma (e.g. a job) that they can't leave due to a number of nerve-wrecking consequences that ,like a pocket of rocks in water, stop you from leaving a cycle of monotony.

This is displayed through the usage of representing a tortured mind in the form of a nonsensical reality where the protagonist's dilemma is presented through a series of abstract, twisted, and, in some cases, horrifying scenes/events.

This is the most I could really say over a public forum; However, I am willingly to outline one of my favourite (and in my opinion, one of the most outstanding scene) scenes (not panel, as it occurs over multiple panels), which is a scene where the protagonist's skin begins to pop (like bubble rap) to reveal monstrous parasitic creatures (which the artist has been given a great degree of freedom with its design) that then proceed to envelope the protagonist.

The script has massive potential for the artist to display their most creative and nefarious creations, due to the representation's nature and the script (as I've already stated) having been written in a Wagner approach [the script gives the artist more control of the visuals].

As for the payment section:
Despite the fact that you don't get payed directly, you do get partial control of the piece, which means it could possibly result in a pecuniary reward at a later date.
As stated by the submission guidelines:
'All work remains the copyright of the respective creators and can be freely re-used and republished elsewhere after an agreed period of time once it has appeared in [the comic].'
(I omitted the name of the publisher due to the fact I feel like I've given a lot of information (on a public forum) on the piece already.)


As for the hoop problem:
Instead of sending a sample, just send me a personal message if you're interested, and we can discuss further details.

Anyway, thanks for at least re-reading the post. 

oh, and lastly, I should mention there's no set in stone deadline, nor is there payment for the art. It's more of a way of getting your art out there, or creating 'psychedelic' art that'll look amazing in your portfolio.
To possible add a little bait on this hook I should mention that one scene (which I can't really discuss in detail) features something truly both horrifying and fascinating.

(the script technique is also further in the Wagner's spectrum than Moore's.)

This'll be my last message, I apologise if my constant messaging is annoying, but I'm not trying to keep the post up, I'm trying to add more detail to my original uninformative message.

oh, and I should mention that it isn't essential to post it here, you can just send me a personal message if you're interested. Either way's good.

Hello, I'm searching for an artist who would be willing to collaborate in the making of a three page anthology (already given the 'get-go').
The anthology itself contains some abstract visuals; Hence, I would prefer it if the interested party could provide some examples of their art, and some examples of previous work (which is not necessary, but definitely not frowned upon).

Anyway, thanks for at least reading the post. 

I'm surprised no one made an Aquaman joke.
Juggernaut- running a red light.
Beast/ werewolf by night- violating pet permits.
John Constantine- Illegal street games and smoking in non-smoking zones.
Ghost rider- violating fire safety protocols.
Batman- is more brooding than Dredd, and that's a class 5 crime!
Spiderman- littering the city with webs.
Swamp thing- Keeps trying to squat in the sewers.
Howard the duck- keeps leaving little ugly duckling droppings everywhere... and pesters people leaving bakeries.

Didn't think that comic book horror can scare me, changed my mind after first volumes of Wytches and Outcast (both were available in new Image Humble Bundle).

Ah, yes, Wytches! That's a brilliant horror comic, but the comic actually didn't creepy me out, it was Scott's paragraphs at the end that did. Somehow he was able to paint a perfect picture of a real life Wytch staring at him from behind a tree with very few words.

Having said that, I've always wondered: why did Scott make his title Wytches, instead of Witches? Was it a method to make the creatures seem unpredictable, or perhaps a way to say that the creatures weren't the same witches you've heard of?

There's an OUTside?! Blasphemy! 

You wanna try Image's 'Sex'. The letter in that Rus Wooton uses different colour highlights to 'bold' words. Its incredibly irriating in whats an otherwise fantastic comic.

I have no idea if that's a regular thing for him, or a direction from the writer Joe Casey, but 26 issues in I've still not got used to it.

Came from Casey. I know, because I remember Rus showing some samples from the first issue and a whole bunch of us basically went: "Rus! What the actual fuck?!"

This is brilliant stuff, the thread and the jokes.

And this is what happens when a writer, who can't draw to save his life, starts to doodle in a monotonous class.

(also, I apologise if this exceeds the image size.)

My suggestion:
When life's door is repetitive, use the windows. And if there's no windows, you better get started on making 'em, we need to stay up to standards on our fire safety, or we'll have no door to walk through for forever. 

Its not always the case, but I do quite often find the drawing phase of a project to be the gruelling, unpleasant thing that I need to get out of the way before I can get to the fun bit (ie the finishing, tightening up, and adding colour) which feels like the 'reward'.

For a writer, this part comes when you type 'The End'. In fact, I purposefully won't add 'The End' until it's ready to send off so it feels like a writingasm. 

Of course, I'm a newb, so that event hasn't occurred much.

From a writing perspective, my biggest problem was sitting down to write and just watching the cursor flashing on and off for ages. I got around this by always finishing off halfway through a word. For example, one of the things I'm writing currently ends, "Dust filled the stale air, shot through with an ever increasing number of sunbeams as the bunker finally began to crack ap" So, the next time I start I can just jump straight in and don't have to think how to start. Whether you could do something similar with artwork, I don't know.

Or I just start writing in Notepad - disconnected words and sentences, whatever comes into my head to warm me up. Just nonsense and random sentences, literary scribbling, I guess, before switching to the main document. Somehow, it's like turning on the hot tap and letting the cold water flush out of the pipe before I put the plug in the plughole.

But that's writing, which is easier to alter than artwork. Still hurts when you have dump whole pages of text, though.

Have you ever had that moment when you read through a script, and think: 'this is bloody awful!' before laying out a plain of improvement, like a general planning a congruous, complex set of tactics?

Fear, for me, comes from the real and the mundane. The civil servant you never meet who, with the stroke of a pen or the use of a telephone, can deprive you of your property, your family, your life - while your friends and neighbours just avert their eyes and let it happen.

This is actually one of the reasons why horror is such a popular genre; it turns true fears into something almost cherishable, so that the fear seems less intense, and you can say to yourself: I just faced my fear head on, and I'm still alive. Examples for this lay throughout culture, but a specific example that has sprung to mind is 'Alien', which was meant to target male sexual discomfort (as well as female sexual discomfort, but the makers said they specifically wanted to engender male viewer's masculinity to be placed in an alien (no pun intended, I swear) situation).