Another weird piece for the suffocating holocaust whirlwind known as Dragged Into Sunlight ! I may have been inspired by the berzerkers from "Beastmaster" - can't you tell???
You're probably reading this though because you were looking for news on their next album. Right about now I am working on their followup to "Hatred for Mankind", if you thought the first album had "interesting" artwork, just wait for the followup. I promise not to disappoint.
Although I can't show much when it comes to their new cover, the artwork will be a a continuation of their first album's artwork. At this point I cannot say it's a prequel or a sequel though.
Well, there was no plan several years ago to continue the story of "Hatred for Mankind", but over time apparently the album's artwork grew in notoriety for its ambiguous although graphic content. There have been so many questions asked about the situation depicted on the cover, it seems people have interesting (but predictable) ideas about what it was supposed to represent.
The story though has been unfolding in my mind, part two is mapped out. I also have been postulating where to take the third installment's artwork. For sure it won't take another ten years of putrid gestation before it spews it's offal across your eyes.
The hard part so far has been mirroring the exact aesthetics that I used the first time around. Sometimes my finished artwork is more or less an "experiment", or I'll decide to draw something in a slightly different way. I've found that is the best way to discover something new and with my time available, quite often the only time to experiment.
If you're drawing and creating with 100% efficiency then you're not really creating any accidents or new ways to unleash your ideas. As an artist (and one who HAS to continually create new material) the room for "experimentation" can be pretty small. Introducing novelty in your finished pieces when you don't have as much time as you'd like to sketch and practice can be beneficial.
I've been laboriously practicing the myriad of particular marks that made up the texture for "Hatred...", it's comprised of several layers and if I draw my marks too long or too short, well it can have unexpected results that stray from the first piece. There's been a couple of hiccups, but I've reverse engineered the process on "Hatred..." with a couple of finished pieces. So far (after practice) I've achieved near perfect results, in fact I can't tell that the two drawings were executed nearly a decade apart.