The Creature From The Black Lagoon;
Ink on 140 lb. Cold Press, 4 1/2″ x 6″; Based on the classic horror film character of the same name;
For a very long time, since way back when I was a college engineering student, I’ve been fascinated with ancient architecture and stonework. Near the top of that list has always been the Egyptian statues known as the Colossi of Memnon, two massive representations of pharaoh Amenhotep III.
When I say massive, they are among the largest stone sculptures in the world. Each is 60 feet tall, on 13 foot bases. While you’re out googling them, make sure to check out all of the photos with the teeny, tiny people next to them.
I decided to create a new ink piece of the statues, which is itself a feat of accuracy and detail. But on top of that, I wanted to create the largest ink that I’ve done yet, a 16″ x 20″ piece with lots of details and lots of linework. It wouldn’t be easy, but I went ahead with it.
I won’t get into too much detail, as most of it you can see in the gallery of progress shots below. The stock that I use is a Strathmore Watercolor stock, 140 lb. Cold Press, which does great with ink.
The original size was also 18″ x 24″, but, as you can see if you googled them, the statues sit in a big field. Or, as we artists call it, a big fat lot of nothing. So, I trimmed it to 16″ x 20″, to save a bit of ink and some time. Below are the progress shots, in order of earliest to latest.
Here’s the completed piece, simply called The Colossi of Memnon. I also added some close-up shots beneath the full art, in case you’re among those folks that like to check out linework. Let me know what you think of it too, and, if you are in the Kansas City area in May, come check out the original ink at my booth at the Spectrum Fantastic Art Live show.
It’s been a little while since I’ve posted a new ink, and it’s about time I did. Life gets in the way of art sometimes, but art is still something I need to be building consistently.
In this case, I wanted to try another fossil as the base idea for an ink. I have lots of reference images from visits to various museums, and I decided this would be a good time to put one of those into play.
This ink is of Dinictis squalidens, a type of saber-toothed cat. It’s not a Smilidon, the typical saber-toothed tiger that most are familiar with, but a separate species. The saber-like teeth evolved separately from the other species, but I’ll let you go look all that up (I’m not a scientist, like Batman).
The ink itself is 5″ x 7″, ink on 140 lb. Cold Press stock. Click on the image below for a larger version, and as always let me know what you think.
Here’s Dinictis squalidens:
In getting ready for my Spectrum booth this coming May (check out the event here), I’ve been working out which pieces of art to bring with me. One of the ideas that came up, which I’ve had before, is to combine three of my smaller inks into one framed set.
I had two previous H.P Lovecraft oriented pieces, The Deep Ones and Cthulhucraft, so I decided a third one would work out great. After some research, I settled on Lovecraft’s snake god, Yig, first mentioned in his story, The Curse of Yig.
As with many of his creatures, there’s not a lot of visual information to go on. Being that the creature is one of the Ancient Ones, gods of Lovecraft’s mythos, and the father of serpents, I decided to move forward with that idea.
I felt that, there being many different kinds of snakes, that I would create a creature that had parts of several of them. That way, in theory, the god could pass down those traits. I wanted to avoid the easy way out, just a snake-like man with big fangs. I mean, sure, there are lots of fanged snakes. There are also snakes that have sets of teeth and no fangs. Snakes with hoods, designs, even horns, and if this creature was their father he needed to have many different, shared traits.
Here he is, emerging from the darkness. Yig, Father of Serpents, is 5″ x 7″, ink on 140 lb. Cold Press. Click on the image for a larger version:
For this week’s Alphabeast creation, I came across the description of a type of mean faerie, called an “unseelie”. Now, in the many descriptions I’ve come across, sometimes it’s described as the “unseelie court”, and sometimes as the creature itself.
In either case, the unseelie is seen as a very mean faerie, one that tends to be very dark as well. Sometimes they are mentioned as being evil, and other times they just go out of their way not to be so helpful.
For my ink art, I’ve decided to take the fully darker route with it (me? Go figure.) and turn the faerie fully evil. I thought I nice split, of a nice half and cruel half, would be a good way to go. I leave it to you as to whether it succeeded or not.
Here it is, U is for Unseelie (a.k.a., Of the Unseelie Court). It is 5″ x 7″, ink and ink wash on 140 lb. Cold Press, click on the image for a larger version:
As is often the case, I also decided to toy around with a color version as well. I brought the scan into Photoshop, and started adding various cool textures and colors. As always, let me know which version you prefer.
Here’s a new Alphabeast creature, and an interpretation of a scene from one of my very favorite films, John Carpenter’s The Thing.
If you haven’t seen the film, go ahead. I’ll wait.
Back? Wasn’t that just awesome?
To create an ink of the creature isn’t the easiest, considering that it doesn’t really have one single form. So I looked at some of the great scenes in the movie, and one of them has always stuck out for me.
In the scene, one of the men at the Antarctic base, named Bennings, has become the unfortunate victim of the Thing. He’s only partially changed though, so the men at the base get to see first hand what happens when someone is “turned”.
Here’s my interpretation of the scene, it’s 5″ x 7″, ink and ink wash on 140 lb. Cold Press. I give you my ink art, The Thing That Was Bennings. Click on it for a larger version: