Horror Classics II: Restless Corpse

HC2 continues with my illustration of a zombie.  And who doesn’t love zombies?  I’m a huge fan of Tony Moore’s work, and The Walking Dead was an absolute favorite of mine when he was still on it.  Moore actually applies the completely realistic detail of the lips and tongue being the first couple of things to visibly decompose or be consumed by maggots.  This piece can be compared to THE CURSED KING and CHILD OF ALCHEMY, with biggest difference being the blankness of the stare, which the other two pieces didn’t have.

Horror Classics II: Icthyan Lurker

Wasn’t really in the mood to work on this rainy Saturday, so I decided I’d revisit a theme that was great fun for me the first time around.  And here I kick off HORROR CLASSICS II, with the Creature from the Black Lagoon.

Like most people, I do a grayscale version of the artwork to define dimensionality in the piece.  This phase used to take me forever to do, and though I haven’t drastically changed anything in my coloring process, the use of a tablet certainly makes it a shit ton faster (and less painful).

Most of you can probably also tell that I drew a lot from Monster Squad, coz I feel the original version of the creature just looks a bit too dopey.  I like to think of it as a piranha-frog man, and that fed it into what you guys see above.

Horror Classics: The Caged Beast

Got stricken by a bastard duo case of insomnia and anxiety last night, so I couldn’t quite hit the desk and be as productive as I wanted to be.  After a third cup of coffee and a stale tuna sandwich, I said fuck it and decided to finish the Werewolf piece.  I use a mouse to color, so the annoying little hairs made my weird manic state a little useful.

Where with the Mummy I used yellowish dusty hues and with Frankenstein I used cadaverous greens, this time around I made a conscious effort to use earth tones.

the-caged-beast-wjPrints available

Horror Classics: Child of Alchemy

Finally got to set aside a chunk of time today so that I could make a little something for myself.  I’ve been meaning to get back to the Horror Classics series for a while, but work’s been keeping me occupied.

Anyway… Frankenstein’s monster.

It’s heavily inspired by the De Niro-Branagh rendition because I felt that stayed truest to Shelley’s original text.  I decided to have him sort of licking himself to connote a perverted nature.  The creature was always nothing but a construct of flesh and pure animal instinct, so I hope that carries across here.

alchemy-line-art

I screwed up the tongue in the initial stages, but I think I corrected it in the colors phase.

child-of-alchemy-colors2

Prints available at my DA store.

Horror Classics: The Cursed King

I grew up watching Harryhausen films and Rankin Bass cartoons, so I really enjoy drawing classic monsters and otherwordly creatures. Discovering Frank Frazetta’s art in Mad Magazine (the Blecch parody ad) at an early age led me to hunt down his stuff wherever I could, and that only fed the monster jonesing. About a year ago, I decided to pay tribute to a cartoon I grew up on by drawing some of the key villains in very “Concept Artsy” styles. Here are those pieces:

Thundercats Legends got a good dose of positive feedback on my DeviantArt account and practically got me enough attention to start doing some commissions. I’m no Bleedman, but it was great to be able to receive the appreciation.

Anyway… now, just about a year after I started Thundercats Legends, I’m starting Horror Classics, which will showcase my take on the classic icons of horror. This’ll allow me to both quench my desire to pay some sort of tribute to the monster movies I grew up with and use the techniques I learned from doing the Legends set.

The line art for this piece took pretty quick. I was worried at first that all the bandages would be a lot of work, but once I noted the overlaps and the contours of the form, it went somewhat smoothly.

I’ve recently gotten into the habit of toning my line art as well, so I can take cues as I proceed with the actual coloring process. This stage of preparation gives me a sense of where I’m going and enables me to not lose sight of my goal with the piece. Also, it just looks nice.

The actual coloring of the character involved a layer of noise that was blurred just enough so it looked like the actual drawing was uniformly shaded with a pencil. I essentially peeled away at this layer to “sculpt” the form, then applied some color overlays to apply tones. Finishing touches were mainly just dodge and burn tools. Getting the mouth to be the main focus, and not the golden snake, was a bit of a doozy… but I think it came out well. The burn tool also allowed me to emphasize some dark areas around his mouth — as a result, it looks kinda like he’s smiling if you look at him from a distance.

I applied a paper-ish texture as the background, since I want this set to seem like it’s all wanted posters or, failing that, old-style illustrations on scrolls.

The Cursed King is but the first in a seven-piece set. It is available as a print on my DeviantArt store.