swap to chronological order of most recently posted
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I took it as an excuse to draw my own characters for a month straight, using preprocessed rag paper I tore down to size and a limited set of art supplies:
Those waterbrushes are filled with different dilutions of sumi ink, making it fun and easy to do greyscale washes.
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Annihilation and David Altmejd – an aesthetic of evolution, transformation, horror and beauty (TW: body horror)
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posted to: mediatagged: annihilation, body horror, david altmejd, fear, film, Fine Art, horror, sculpture, structure, transformationI adored Annihilation‘s visual approach (among so much of it, gosh I just adored it overall really!) but as we walked out of the theatre, Matt and I realized we’d seen a similar visual theme at work elsewhere: at the MAC (Musée d’Art Contemporain in Montreal) when we caught a career-spanning solo show of David Altmejd’s work. I’m going to share here with you some images from both, because I think the interplay is really neat!
For the record, the images below are going to flirt with body horror in a big way.
First off, let’s look at some key scenes of Annihilation (click to see the source file larger):
Now, let’s admire some of David Altmejd’s work:
Let’s take a good look at some of his figurative stuff:
And for one final comparison, let me share with you the close-up concepts of the horrifying bear’s head in Annihilation:
And a few final pieces of Altmejd’s that really heck me up:
I’m not crying theft here – I’m just always delighted to find themes, and for anyone who loved the visuals of Annihilation, the art world does actually hold interesting and relevant art for you!
Thanks for your time! Comments are open!
3 responses to “Annihilation and David Altmejd – an aesthetic of evolution, transformation, horror and beauty (TW: body horror)”
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Totally agree,,,,,,,resemblance is stunning,,,,,,,coincidence ?Yes and no.
Artists are creatures indeed. -
Darn, this is great work! Going to bookmark this artist. Hope I can see them in person some day.
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I would go back to see his work again on a dime! Def let me know if you see there’s an exhibit coming!
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This illustration was drawn for Robin Laws’ Yellow King RPG‘s Paris book, featuring a Carcosan take on the Parisian Opera Ghost, sailing on Lake Hali beneath the Garnier Opera House. It was created in watercolour and coloured pencil, and took inspiration from the art of the era, including the symbolist and late romantic painters, as well as sculpture and poster design.
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Speedpaint sketch exercise; digital.
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Watercolour and pencil crayon, inspired by one of my favourite Opeth songs:
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The time of the wolf is upon us! Art, rpgs and albums come together for this awesome project!
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Wolfspell, a project I’m illustrating, is on Kickstarter right now, but only until the evening of February 3rd! I want to share a little of what makes this project feel special to me.
Wolfspell is a tabletop roleplaying game by Epidiah Ravachol, whose name you might know from the epic storytelling game Swords Without Master, or the Jenga-powered horror game Dread. Epidiah’s Wolfspell is a game where you tell the stories of rogues, adventurers, warriors and travelers who have been turned into wolves and must achieve their vengeance, source their treasure, or escape their fate as wolves before they can return to their human forms.
As a player in Wolfspell, you are torn between your wolf side and your human side, pitting a wolf die against a blood die on every roll. Working as a pack will keep you safest; a lone wolf might not survive to tell their tale.
As the GM in Wolfspell you are called Winter, and you bring your wrath down on those who have earned it through failed rolls and dangerous choices, while you add challenges, magic and snow to your players’ story.
This game feels epic and haunting to play; communicating through the language and senses of wolves adds a flavour of strangeness and surprise to already solid sword and sorcery tales. As a sword and sorcery fan, and a person who is deeply interested in animal intelligence and communication, this game would have my number no matter what!
But it’s not just that I’m excited for it to exist – it’s not even just that I’m excited that I get to illustrate the cover! It’s extra, extra special because Epidiah had decided that we are going to publish this game as a tri-fold LP case.
(the art is not finished, stay tuned to see the polished final image!)
You know, the sort of thing you might find holding a double album, back in the days of vinyl. Specifically, the format that gave us some of the most definitive examples of epic magical realism in illustration. The sort of enormous canvas given to folks like Roger Dean and Rodney Matthews. I’m going to be painting one of those!
I’m a sucker for finding musical parallels to other things I enjoy, so using the format to draw a line between this wonderful RPG and the experience of an epic double album just gives me goosebumps!
If all this has you intrigued, don’t delay – check out the Wolfspell kickstarter right here!
And if you’re already a fan of wolves and epic music, let me know below what songs or albums you’ll put on when you play Wolfspell!
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The Ghost Houses of Phylinecra – Cover Illustration
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posted to: arttagged: clouds, crystal island, crystals, digital art, digital painting, ghost, hand, house, image, pencil, pink crystal, sinister, spooky, strange, structure, underwater, waterThis piece was created as the front cover illustration for The Ghost Houses of Phylinecra, an RPG adventure about the strange processes of grief in a disaster-struck community. This piece was drawn initially in pencil on Arches cream rag paper, then scanned and digitally coloured.
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