Weirdly, this was influenced partially by images of Heidi Klum’s horrific human worm fancy dress costume which did the rounds on the Internet recently – I mean hats off to her she knows how to cosplay! Then it was a case of filling in all the remaining areas – I think the freaky carapace of the Ankorite came next. She can morph it at will using sub-dermal chromatophores so it’s fair to say she can go sans pattern where required… FACT! This would be the first time many people would see the new character and I didn’t want anyone to immediately be presented with a ‘what’s going on with her skin? it’s all blotchy… is that a weird print anomaly?’ confusion so I abbreviated it to straight yellow here.
#Oh captain my captain poster skin#
The keen-eyed will twig that in the strip she has constantly morphing skin tones based loosely on the Blue-Ringed Octopus but aside from being insanely time-consuming in real paints I thought there was a chance it might confuse readers. I think Moondog’s disapproving smirk was first to go in followed by Shikari’s dazzling dayglo yellow skin. It was starting to take shape but I like to get some of the important key areas in early so I have plenty of time to assess and correct them if needs be during the course of the painting. Once that was dry I was quite keen to start introducing some of that psychedelic space jazz, so I started with the Pleroma jellyfish entity and its crazy glowing ‘nubules’ which led into adding the kozmik sky background with a few stars etc. It’s nice to get the initial wash good and dark but without burying the guide inks.
But the gallery process cruelly crops some of them, which is why you can find them in all their full-size glory at the end of this piece! After that, I taped it to a wood panel and began to add a deep purple wash over the line work.īoo sent over a load of incredible bits of artwork which we’ve added in as galleries through this Covers Uncovered. I think he pretty much said ‘go for it’ so I lightboxed my rough onto a piece of A3 Bristol Board using various fine liner pens, embellishing the details as I went for a more finished look and threw in some solid blacks. The greyscale rough was banged together in Photoshop so I could shift things about easily, then I sent it off to Tharg for approval.
With all this in mind I foraged out some great figure reference for Captain Shikari and stretched the image so I had a real nice lanky figure to work from. While I’m not exactly railing against it, I figured a good standpoint to take would be to swerve all my creative endeavours towards the organic and visceral – capitalise on my own human element, hope that it’s recognised as such and therefore an un-reproducible commodity in itself… Also, most of what I’ve seen created by AI, whilst very slick, seems to lack soul and real emotion which tends to leave me feeling somewhat sickly and bewildered. I’m not strictly against AI as such – it’s something of an inevitability at this point but some incredible artists I know are already losing their jobs in various industries as a result. generated art I purposely decided that this cover needed to be a fully organic acrylic painting. Having paid attention to much of the current debate surrounding A.I. It had to be a cosmic piece but I also wanted to focus it and have the main character projecting forth so I added a couple of sidebars and the flat width of the Subjugator’s hammerhead ninja headpiece worked great for a potential text zone. Scale of characters is to be played with in these ventures so I used the different scalings of the characters to aid the composition. Boo’s greyscale rough sent to Tharg for approval – and Tharg approves very, very much!īOO COOK: As this cover was intended for a brand new cosmic sci-fi strip, I wanted to try and give it an epic film poster vibe in the vein of the old Star Wars trilogy paintings and various Drew Struzan posters where you have a montage featuring all the different players in the story.
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