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The Loop is closed. Life is returning to normal when the pastoral countryside is suddenly flooded by dark water from the huge abandoned underground facility. Rumors spread in classrooms and schoolyards, stories about the flood and how it has brought something with it. One thing is clear: the past is not ready to be forgotten.
Simon Stålenhag is back. In his new artbook Things From The Flood, Stålenhag continues the stories of Tales From The Loop, memories of a Nordic childhood infused with strange machines and weird creatures from other dimensions. In Things From The Flood, Stålenhag moves his focus from the 80s to the 90s, the decade of great change when the outside world truly came to Scandinavia. These are tales of the trials of youth, of schoolyard hazings, of first kisses, of finding yourself – and robots.
Simon Stålenhag’s Tales from the Loop is a wildly successful crowd-funded project that takes viewers on a surprising sci-fi journey through various country and city landscapes―from small towns in Sweden and the deserts of Nevada to the bitter chill of Siberia―where children explore and engage with abandoned robots, vehicles, and machinery large and small, while dinosaurs and other creatures wander our roads and fields. Stålenhag’s paintings and stories take place in an alternate version of Sweden in the ’80s and ’90s, primarily in the countryside of Mälaröarna, a string of islands just west of Stockholm, and how this reality came about: the development of the Loop, a large particle accelerator and the side effects of the massive project. These incredibly captivating works and accompanying text capture perhaps a not-too-distant reality that is both haunting and imminent: addressing the many ways developing technology and nature can create havoc and wonder in our world―plus, its impact on the next generation. This is the English edition of the first book in Swedish that sold out in its initial printing.
The afterlife—a place that fills our hearts and minds with wonder as well as dread. What is in store for us there? Will there be suffering or redemption for our souls, or both? Who or what holds the power in the afterlife? And is there no escape?
Heaven’s Hell: The Art of Anthony Jones unveils one artist’s exploration of this shadowy realm and the beautiful and haunting beings battling over it. Meet the sultry and fearless sisters of Haliled, the scheming Crimson and Sapphire Sages, and the mighty brothers of Jisais—all of whom don the most sensual, imaginative attire—drawn and painted in striking detail that will captivate curious minds. Jones’s artwork is undeniably provocative and unsettling simultaneously—this effect is ultimately his intention—for the afterlife holds as much mystery as it does terror: it is both heaven and hell.
Anthony Jones has worked as an artist in the entertainment industry since 2008. He has worked for several notable companies over his career, including Sony, Blizzard Entertainment, Paramount, Western Costumes, Applibot, Wizards of the Coast, and Hasbro. But he is most proud of his role as a teacher, helping aspiring artists finesse their skills, as well as providing them a venue where they can showcase their work, through his company, Robotpencil.
After a 12 year absence from creating his own art, Derek started to focus on his personal work in 2009.
His first personal project, Born in Concrete, was undertaken to dispel his biases towards expressive art, overcome his own perceived limitations and to rejuvenate his creative spirit. This collision of Soviet inspired retro sci-fi and Jewish mystical and qabalistic symbolism has evolved into a filter, or framework, that emotions, ideas and images are pushed through to be given shape and form. This project has been well received, being featured in numerous exhibits, international publications, as well as book and album covers, it continues to unfold and expand…
This book will feature a gallery section of artwork, a chapter on the artwork created for use as graphics on snowboards, the snowboards and the corresponding marketing material as well as a chapter on the creation of a resin model kit by Industria Mechanika.
A section of the book will also be dedicated to a step-by-step breakdown of how one of the
art pieces was created.
This is the fourth book by the award-winning science-fiction and fantasy artist Stephan Martiniere. Following his previous books, Quantum Dreams, Quantumscapes, and Velocity, Trajectory showcases Stephan's phenomenal artistic range and skills in a stunning new visionary collection of sci-fi book covers, theme park and animation concepts, video game designs and never-before-seen artwork.
Following his previous books, Quantum Dreams and Quantumscapes, Velocity is a stunning new visionary collection of sci-fi book cover paintings, commercial and film art, video game designs, and never before-seen artwork from the fantastic imagination of acclaimed artist Stephan Martiniere.
Limited Editions may be purchased here: Velocity Limited Edition by StephanMartiniere.com
In the future, a new land on the edges of the universe, Kolonie, has been found with untapped sources of oil. Colonization follows immediately. Watch the story and the stunning visuals unfold for this new world through the expert eyes, hands and minds of artists Patrick Hanenberger and Christian Schellewald.
The Kolonie was a fairly unimportant world at the fringes of the known universe. Although its climate and living conditions make it a habitable environment, the immense distance to the central worlds left it provincial and there were no serious plans for any form of colonization.
When the first oilfields were discovered, an enormous rush to the Kolonie started immediately. At that time space travel, and any other form of transportation was still completely dependent upon oil. Millions of colonists left their worlds to find their fortunes on the Kolonie. A new class of spaceships was constructed to ferry settlers and supplies to the distant world and bring back oil and oil products in vast quantities.
Kapitol, the main city on the Kolonie grew into a huge metropole and for more than a decade its spaceport was one of the busiest of the entire universe. When oil was finally replaced by other more efficient energy sources, importing it from the Kolonie to the main planet ceased to be profitable.
The large oil corporations pulled out and shipping to the Kolonie stopped entirely within a short amount of time. Occasionally a government ship from the central world lands on the Kolonie to bring new government troops and officials, spare parts and new technology and sometimes a few passengers.
Leaving the Kolonie is difficult and very costly and far too many people are stranded and long to go back to their less remote home planets. But there are still a few adventurers and fortune seekers who manage to travel to the Kolonie, which still offers many opportunities.
This book is the first chapter in introducing the visually rich world of the Kolonie as well as its inhabitants and technology.
The Colony – The story, taking place in 1875 traces the epic journey of Gabriel Duban in an era before space‑travel when worlds of mystery, danger and enchantment were still found on Earth. Adventure and horror take on dizzying new dimensions as Duban pursues the truth of A LOST CITY in an empire defying space and time…
Viktor Antonov was born and grew up in Sofia, Bulgaria then immigrated to Paris, France at 17. He is renowned for creating compelling fictional worlds that combine beauty with striking realism. Viktor is a winner of the Visual Effects Society and a BAFTA award. In his 11 years in the entertainment industry he has designed and art directed projects such as the blockbuster Half Life 2. He’s currently a production designer and co‑author of the French animated feature The Prodigies.
Steambot Studios presents its first original visual “art of” book, Exodyssey. A new alien race has been discovered that adorns themselves like humans celebrating Halloween. A group of unlikely heroes from Earth, consisting of prisoners, pilots and scientists, must travel light years away to confront this new race that they feel threatened by. Steambot Studios takes us on a fantastic visual journey to tell this science fiction tale.
Steambot Studios, a collective of six digital artists working in the world of entertainment – Sebastien Larroude, Thierry Doizon, Joel Dos Reis Viegas, David Levy, Nicolas Ferrand and Patrick Desgreniers, takes us aboard an epic science fiction ride in Exodyssey. Created in parallel with a series of art education DVDs and lectures, the group demonstrates their creative production art techniques developed through many years of experience in the field working for such companies as Electronic Arts, Activision, Ubisoft, Epic, Digital Dimension, Canal+.. Follow the Steambot crew through an original but also realistic point of view on futuristic civilizations, space transportation and society as they visually develop the characters, vehicles, environments and props needed to tell the tale. Various educational lectures and tools are thoroughly documented in this visually stunning book.
“…a visual masterpiece….”
Worlds is more than just an absorbing and, ultimately, heart-wrenching work of fiction, it is a visual masterpiece. Not since Wayne Barlowe's Expedition has an artist conceived an alien biosphere in such baroque detail, while remaining true to nature’s fundamental principles of adaptation, selection and ecological interdependence. These worlds are intricately conceived, their biomes scientifically plausible, while possessing a sufficient sense of the quirky and outrageous to mirror nature’s own outlandish inventiveness.
Worlds is a visual depiction of humankind’s first exploration of life-supporting planets, shown in a dynamic vérité photographic style and told in a firstperson narrative. Created by Academy Award-nominated visual effects artist Alec Gillis, Worlds leads the reader on a journey to undiscovered landscapes, populated by unknown life forms. Worlds is a mission of discovery that becomes a struggle for survival, and in the process celebrates humanity’s spirit of exploration.
– writer/director James Cameron
“When I grow up I want to be an astronaut!” declared a six-year-old Stephan in 1968, a year before man walked on the moon. Not surprisingly, his first doodles featured blazing rockets and spaceships. Growing up in France, and not permitted to watch much TV, Stephan spent a lot of time at the corner cinema. There he was introduced to the likes of the Werewolf, the Mummy, Dracula, Frankenstein and King Kong. He traveled on the Voyage to the Center of the Earth and experienced The Day the Earth Stood Still. The fantastic creatures and worlds in all of these classics were overwhelmingly cool. As Stephan’s doodles of astronauts became doodles of monsters and aliens, he found himself enjoying drawing more and more—and the dream of becoming an astronaut gradually evolved into becoming a visual artist.
Quantum Dreams: The Art of Stephan Martinière is a collection of his scifi book paintings, video game designs and personal art. Stephan takes others’ descriptions of faraway, imaginary realms—and makes them real.
“Beautifully presented and filled with wonderful art and designs, this is the book that I've wished I had years ago. I think students and professionals alike will find this book inspirational.” – Doug Chiang, design director, Star Wars Episodes I and II
In the Fall of 2001, a group of seven conceptual designers gathered together in Los Angeles to begin work on a new creative experience. At the heart of their coming together was a desire to create and explore new images and ideas in a creative environment apart from their normal design jobs. A presentation of the efforts of this group is available in the form of the first Concept Design art annual.
Concept Design contains nearly 300 original color works by the seven contributing designers. In addition to the 84 Concept Design pieces, support sketches and roughs appear throughout the book. Each piece is accompanied by text detailing the design ideas and/or illustration techniques used. Concept Design is printed with quality as our primary focus. The book is 9”x12” in a vertical format with eight fold-out pages which allow for the printing of sixteen large horizontal images. No images cross the binding of the book, breaking the image.