#sci fi spacesuit

[magentapink-art]

Another redone/ updated sci fi spacesuit design of a design I drew around 2 years ago although this one is a more realistic take with mostly currently plausible technologies.

I haven’t named this one but it’s intended to be for use in very low gravity vacuum environments such as moons and asteroids, leading to features such as weighted crampons to shift the astronaut’s centre of gravity lower.

Concept-wise it’s largely based on NASA’s xEMU suit in general but with more aesthetic considerations put in while trying to keep some of the functional features where they are. Technically speaking Adam Savage did this in his spacesuit costume series but this is my take on this.

More in-depth explanation below, note of warning it’s very long and technical as usual.

This spacesuit, as I said above is intended for use in low gravity vacuum. It is a rugged, highly resistant design meant for first human expeditions to new or previously less explored locations so accounts for unexpected conditions, although at the cost of being fairly more bulky.

First of all it is back entry, but unlike the Orlan suit the hatch/back panel doesn’t hinge, instead it entirely comes off when removed. The hatch panel includes the life support system and the helmet, although the helmet can be detached from it. The fact that such a large portion makes up the hatch makes the opening for entry larger and thus easier to get into. Lights are attached to either side of the head on the hatch panel. The life support part of the hatch has handles on the sides to assist with attaching and removal of the panel. The panel has a raised ridge/collar around the base of the helmet to protect the connector rings from impact.

The helmet has a gold coated sun visor that can be manually lowered, and the helmet visor itself is also openable. Comms are integrated into areas around the neck in the hatch panel, instead of being a separate headset which helps with reducing points of failure and also reduces strain on the neck.

The arms are mounted slightly forward to help allow more motions in front. Constant volume convolutes are used in the shoulders and elbows to allow motion. The wrists have a rotating connector ring. A wrist mirror on either side allows the astronaut to read labels on their own suit controls. The gloves have rubber fingertips and a fingernail-esque wedge attached to the tip for better grip of small objects. A seal located inside the arm of the suit allows the gloves to be separated into a their own pressure zone, and dials on the gloves allow this area to be put into a lower pressure for more hand flexibility (you don’t breathe with your hands so technically speaking you don’t need as much pressure there), although there is an automatic timer that will fully pressurise the gloves after a set amount of time to prevent swelling or bruising.

The torso segment of the suit is a hard shell, and because the entry point is not located here it allows for convolutes to be added for waist flexibility. The chest of the suit holds the control panel which can control temperature, lights, the crampons and other features. A sample collection case can be worn over the hip area, or it can also be used to attach a belt for tools. A tab on either side of the hip joint helps keep this in place. Tethers or safety lines can also be attached here.

The legs of the suits rotate at the hip and have knee convolutes. A guard over the knee allows astronauts to kneel and to prevent abrasion. A pair of dust covers over the calves of the suit help to keep dust off the boot connectors.

The boots have a pair of weighted crampons worn over them to help anchor astronauts to the surface in low gravity. The spikes are retractable to prevent damage to the spacecraft floor. The crampon also has a metal plate to protect the top of the foot. It isn’t visible here but the crampons attach with a similar sort of mechanism to snowboard bindings. The suit can also be used without the crampons like if it were to be used in higher gravity locations or in microgravity where they do not need to anchor themselves down.

Inside the suit, it has the typical internal components such as a drinking water supply, sweat wicking and cooling layers, and a liquid waste collection system.

The fact that this is somewhat based on an existing suit design means this explanation isn’t as egregiously long as I anticipated.

Also the OC wearing the suit here is Teira. Basically the astronaut OC I draw whenever I need an astronaut most of the time unless I have a specific reason to use someone else.

This is the older version of the design, not much has changed aside from the colour distribution (I got rid of the large areas of red), the crampon mounting is visible, the latching systems are more exposed (which is a bad idea they don’t look very stable), there is a comm headset, and the anatomy in the drawing is not as great as I thought it was at the time. SPACEMILK is the name of the short story I wrote where this suit was used since I don’t have a name for the suit. Suggestions are welcome.

[oldschoolfrp]

We're not in Greyhawk anymore (Keith Parkinson cover for Book 3: Crossing Over from AD&D campaign adventure Tale of the Comet by Thomas M Reid, TSR, 1997).

After stopping an alien invasion in a remote rural village, the PCs "must then pass through a portal to another battleground, a metal city on a far-distant world, where aliens fight desperately against death machines that threaten to overwhelm all organic life. So trade in your sword for a blaster rifle, your sling stones for a few high-explosive grenades, and see what happens when you mix magic with high technology."

[humanoidhistory]

Star Trek production still, 1968.

[70sscifiart]

If you think about it, dolphins belong in space just as much as humans do. Richard J. Bartrop’s 1994 cover art for Freeflight #4 has one take on the concept, complete with extra mechanical arms.

[jazznoisehere]

Mort Garson: Journey To The Moon And Beyond (Sacred Bones, 2023)

Artwork & Design by Robert Beatty

[takaobata]

Even more #sci-fi au! I wanted to mix figure drawing practice with some fandom silliness 😜🍑. Life has been hard but there's always art to save us

[technicallyclassyperfection]

Via print:

[ceviofcrows]

A visit to an erased priest

[thefuture-tomorrow]

Outland 1981 film

[somereaderinblue]

Okay, after seeing the Trigun Funko Pops on twt, I gotta ask: am I the only who is borderline unhealthily in love with Rem in this suit? Like, the blue, the sleeves, the gloves, the everything??

I've always liked the Tristamp designs. But if there's one thing I will not forgive, it's the fact that they robbed us of these spacesuits which absolutely served.

[thisismycorneroftheinternet]

Saw that Spider Grundo early art and I just had to draw my favorite scene from Return of Dr. Sloth in that early 2000s Neopets style, the Gorix v. Parlax fight. I even exported a version with 1000 px of width, 60% quality, compressed JPG for that AuthentiqueTM feel.

drawn on GnuIMP. Neopets is owned by World of Neopia, Inc,. All rights reserved.

If you're seeking commissions from me, here's my page. Also, support me on Ko-fi here! Lastly, check out my Neocities website to see more of my work.

[spacetimesally]

A parasitical stowaway turns a routine hauling job into a pest control nightmare when a Martian skumnole roots itself into a place it doesn't belong in, 'Vacate the Vile Vermin Vehemently'

[oldschoolfrp]

"Endless" by Gary Davis, Art Feature in Chaosium's Different Worlds 35, August 1985

[filmjunky-99]

a l i e n, 1979 🎬 dir. ridley scott 'Spacesuit'

[captainchaosartworks]

Jenosa Arma 2

Decided to make some new art of Jenosa Arma from Scurge: Hive for tomorrow's stream! 👩‍🦰🚀👾 Last time I drew her was in 2020.

[the-antiapocalyptic-man]

a bunch of recent OC design work