not forgetting....

.....My first encounter with Doctor Klop.
(At the time, I didn't know about the skeleton in his cupboard.)

sketchbook 3

limbololand 6

the heretic king 5

Ankhesenaten.

transitional bob

3 from the vault

the house of Asterion.
Rogabo.
Orealla: Stevenson's ghost story.

...Sketchbook 2

on monsters...

one for the road

These are frames for the TARZAN II storyboard.
Some are based on the work-in-progress storyboards.
I was working in London...The story guys were elsewhere...So my apologies to them: I never knew whose work I was messing with.

....sketchbook.

dark colour 2

Sekhmet the pursuer, the drinker of oblivion.

dark colour

lands of the dead

This is concept artwork for THE CORPSE BRIDE.
You will not see this in the movie....Only in Limbololand.

I will be posting more later.

sonero limbolo

a recent addition to the limbolo label reissue series.

sol/luna

Sigmund Freud, whose poetic sensibility is not widely recognised, once said that all men feel nostalgia for the sun.

Back to the Sun.

The Golem.

3 black and white concepts for the Czech fable.

One of the best modern versions is by Primo Levi, who did time in the death camps.
Unforgettable are the first words that the creature speaks:
"Why do the unjust prosper?

push

hasta la proxima

I will be posting much less in the coming weeks.
Holidays in Limbololand have come to an end and I have to go to earn my bread and butter.
I will be dropping in from time to time.
Many, many thanks to everyone for your generous remarks and your interest.

On the trail of Greg Hill....

Eva goes to Foreign 2

Check the backstory:
http://news.bbc.co.uk/1/hi/uk/4261934.stm

the heretic king 4

One for Canada.

Somewhere out in the woods I lost track of my good buddy, Greg Hill...Hope he made it back to the cabin.

Yes, it's real paint.

Thorgal, child of the Stars

3 concepts for
'Thorgal, Enfant des Etoiles'.

A proposed TV series for
France 2/M.D.I. Productions. Paris.

Based on the B.D. series by Rozinski and Van Hamme.

Thorgal didn't make it onto the TV screen but the visual development process was an important experiment for me and I remain indebted to Alain Majani at M.D.I. for giving me the opportunity to work on it at length.