swap to chronological order of most recently posted
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This monster came from too much heavy metal and some time in a sketchbook with my favourite pencils. After the drawing was done, I printed it out on watercolour paper to finish bringing the monster to life in full colour.
Watercolour on watercolour paper, 2017.
click here to buy a print of this piece One response to “It Came from Beneath the Mire”
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This heartwarming friendship came to life with a combination of textile inspirations from around the world, and time spent researching the fuzziest pleistocene megafauna.
Watercolour on watercolour paper, 2017.
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The Corruption of Pelursk is a system-agnostic tabletop RPG hexcrawl/dungeon, written by Shel Kahn.
The Isle of Pelursk holds a glowing, steaming, mist-shrouded secret at its heart, and once you’ve entered its clutches it does not want to let you leave.
Designed to fit easily as a sidequest into an ongoing campaign or stand confidently on its own, The Corruption of Pelursk launched on May 15th 2018 as a Pocket Dungeon Pack!
Each pack comes complete with:
- 60 page 3.5 x 7″ black and white zine
- 17 x 17″ fabric map of the island
- twelve 1.5″ fabric hexes
- a patch of the cover art
- a mechanical pencil
- all tucked into a 9 x 4″ canvas zippered pouch.
Also available are the zines themselves, packaged with a black and white map and ready-to-cut hexes at a slightly smaller scale.
Check out the pocket dungeons and pocket dungeon packs available in the store right here.
Want to run this system-agnostic adventure in D&D 5th Edition? Mike Harvey has created a thorough and complete conversion he’s sharing for free right here!
Thanks so much to Jason and Tom for their thorough review of The Corruption of Pelursk on their podcast Fear of a Black Dragon, at The Gauntlet!
Big thanks to Evlyn Moreau for her review of The Corruption of Pelursk over on her blog Le Chaudron Chromatique:
I like that the spine of the adventure is simple enough to grasp and to remember, after a single read I feel like I could easily run it. The fabric elements add a nice tactile feel that fit with the setting where everything is handcrafted by people.
Shoutout to Robert Carnel for their review of The Corruption of Pelursk over on The New Flesh:
Having presumably tricked their way onto the island the game then shifts to a clever hex-crawler with the island interior being the hex map and then you roll and place cutout hexes onto the map. … The hex crawl is definitely the more interesting part of the scenario and is quite imaginative.
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Full Colour Yellow King RPG Book Illustration
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tagged: art, blue, cathedral, dangerous, gargoyle, notre dame, spotlit, structure, tabletop roleplaying game, tabletop rpg, yellow king rpgThis illustration was drawn for Robin Laws’ Yellow King RPG‘s Paris book, set on the balconies of Notre Dame as investigators attempt to survive a gargoyle attack. 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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The Isle of Pelursk is a mixed media piece from 2018, inspired by the Canadian Shield, twisted pine forests and strange lights at dusk. Created in graphite and Photoshop.
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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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tagged: art, clouds, crystal, crystal island, digital painting, ghost, hand, house, 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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The Mammoth and the Namedealer – Watercolour Illustration
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tagged: art, bronze age, clouds, grass cape, grasslands, mammoth, megafauna, pleistocene, portfolio, prehistoric, structure, woolly mammothThis illustration has been painted for Joshua A. C. Newman’s game The Bloody-Handed Name of Bronze, and features characters from a short story I wrote for the text. It was painted on an 11 x 14″ piece of Arches 140lb Hot Press watercolour paper, using W&N and Daniel Smith watercolour pigments, and a little metallic gouache.
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I had the good luck, back in 2016, of being part of the excellent team making Numizmatic Games’ Nintendo Switch release Light Fingers, as the concept artist, and worked on character designs for the player characters. Here’s some snippets of our process!
Above you can see the final player character lineup, not by me, featuring nice renders of the models. Roach wasn’t part of this particular process, but you’ll see him in another post!
All the 2D art that follows is by me:
We spent a lot of time casting a wide net for the four player characters – we knew we needed variety, but they also had all feel like sneaky or nimble adventurer thieves! We did a lot of mix and matching, taking aspects from various concepts and bringing them together in the next batch of interations:
At this point we had a sense of the first two characters, Caper and Dagg, so it was time to clean them up for the modellers:
We started brainstorming colours next, a combo of working on the 2D images, and pulling the colours into the 3D environment using a custom tool the devs built for me:
We still needed two more player characters, so it was back to the drawing board:
Tricks made it into the game, but our friend in the fur vest ended up getting swapped out for Roach, who actually came into being from the NPC design process!
Hubert made us this lovely gif of the design process of Caper, so you can see how each stage led to the next:
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Spacebear was drawn as a private commission for nursery pillows.
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