Concept art based on “The Colour out of Space”, H.P. Lovecraft’s short story.
“It was the coroner, seated near a window overlooking the yard, who first noticed the glow about the well. Night had fully set in, and all the abhorrent grounds seemed faintly luminous with more than the fitful moonbeams; but this new glow was something definite and distinct, and appeared to shoot up from the black pit like a softened ray from a searchlight, giving dull reflections in the little ground pools where the water had been emptied. It had a very queer colour […]
All the while the shaft of phosphorescence from the well was getting brighter and brighter, bringing to the minds of the huddled men a sense of doom and abnormality which far outraced any image their conscious minds could form. It was no longer shiningout, it was pouring out; and as the shapeless stream of unplaceable colour left the well it seemed to flow directly into the sky. […] At this point, as the column of unknown colour flared suddenly stronger and began to weave itself into fantastic suggestions of shape which each spectator later described differently” – The Colour out of Space, H. P. Lovecraft
Concept art based on ‘The Temple‘, H.P. Lovecraft’s short story.
“On August 9, we espied the ocean floor, and sent a powerful beam from the searchlight over it. […]What I saw was an extended and elaborate array of ruined edifices; all of magnificent though unclassified architecture, and in various stages of preservation. Most appeared to be of marble, gleaming whitely in the rays of the searchlight, and the general plan was of a large city at the bottom of a narrow valley, with numerous isolated temples and villas on the steep slopes above. Roofs were fallen and columns were broken, but there still remained an air of immemorially ancient splendour which nothing could efface. […]
In about two hours the boat rested in a paved plaza close to the rocky wall of the valley. On one side I could view the entire city as it sloped from the plaza down to the old river-bank; on the other side, in startling proximity, I was confronted by the richly ornate and perfectly preserved facade of a great building, evidently a temple, hollowed from the solid rock. […]The art is of the most phenomenal perfection, largely Hellenic in idea, yet strangely individual. It imparts an impression of terrible antiquity, as though it were the remotest rather than the immediate ancestor of Greek art. […]
What I did see was not spectacular, not grotesque or terrifying, yet it removed my last vestige of trust in my consciousness. For the door and windows of the undersea temple hewn from the rocky hill were vividly aglow with a flickering radiance, as from a mighty altar-flame far within. As I stared at the uncannily lighted door and windows, I became subject to the most extravagant visions—visions so extravagant that I cannot even relate them. I fancied that I discerned objects in the temple—objects both stationary and moving—and seemed to hear again the unreal chant that had floated to me when first I awaked.” – The Temple, H. P. Lovecraft.
Step by step making video:
Concept art based on “The Strange High House in the Mist”, H.P. Lovecraft’s short story.
“In the morning mist comes up from the sea by the cliffs beyond Kingsport. White and feathery it comes from the deep to its brothers the clouds, full of dreams of dank pastures and caves of leviathan. […]
Now north of archaic Kingsport the crags climb lofty and curious, terrace on terrace, till the northernmost hangs in the sky like a grey frozen wind-cloud. Alone it is, a bleak point jutting in limitless space. […] Nevertheless there is an ancient house on that cliff, and at evening men see lights in the small-paned windows. The ancient house has always been there…”
The making process:
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“After traversing a horrible unlighted court where my guide had to lead with his gloved hand through total blackness to a narrow wooden gate in a high wall, we came upon a fragment of alley lit only by lanterns in front of every seventh house. This alley led steeply uphill—more steeply than I thought possible in this part of New York—and the upper end was blocked squarely by the ivy-clad wall of a private estate, beyond which I could see a pale cupola, and the tops of trees waving against a vague lightness in the sky. In this wall was a small, low-arched gate of nail-studded black oak, which the man proceeded to unlock with a ponderous key.”
“Once at the window, the man drew apart the yellow silk curtains and directed my stare into the blackness outside. For a moment I saw nothing save a myriad of tiny dancing lights, far, far before me. Then, as if in response to an insidious motion of my host’s hand, a flash of heat-lightning played over the scene, and I looked out upon a sea of luxuriant foliage—foliage unpolluted, and not the sea of roofs to be expected by any normal mind. On my right the Hudson glittered wickedly, and in the distance ahead I saw the unhealthy shimmer of a vast salt marsh constellated with nervous fireflies. The flash died.”
Again the lightning flashed—but this time upon a scene not wholly strange. It was Greenwich, the Greenwich that used to be, with here and there a roof or row of houses as we see it now, yet with lovely green lanes and fields and bits of grassy common. The marsh still glittered beyond, but in the farther distance I saw the steeples of what was then all of New York; Trinity and St. Paul’s and the Brick Church dominating their sisters, and a faint haze of wood smoke hovering over the whole.” (“He” by H. P. Lovecraft)
Concept art based on “The Doom That Came to Sarnath”, H.P. Lovecraft’s short story. For realising it I downloaded and merged several free models from 3D Warehouse and TF3DM.com and textures from 3DTotal.com. I rendered the scene using Vray. Inspirations include Dali’s ‘Caravan’ and Deep Purple’s ‘Stormbringer’ cover. (more…)
Concept art based on “The Festival”, H.P. Lovecraft’s short story. For realising it I downloaded and merged several free textures from 3DTotal.com, as well as 3D models from TF3DM.com. I rendered the scene using Vray, using the settings at Forbes Massie, the architectural visualisation studio where I currently work as a digital artist.
“It was the Yuletide, and I had come at last to the ancient sea town where my people had dwelt and kept festival in the elder time when festival was forbidden.
Then beyond the hill’s crest (more…)