After completing my 'Secret of NIMH' art a few weeks back I got inspired to turn it into a series of artworks that I'm dubbing, "Childhood Cinema". The series will highlight those great movie watching moments that I had as a kid that have stuck with me as I've transitioned to adulthood. These scenes in particular have inspired my art or imagination in some way or another. I plan to add more and more to this series as time goes on.
For this entry I depicted one of my favorite movies of all time, 'The Neverending Story'. I picked the scene of Artax' (the horse) death because it was such a powerful moment for my young mind to witness at the time.
Also, the movie's soundtrack is bitchin'.
Here's the scene itself for though who haven't seen the movie (or who want to reminisce and cry their eyes out.)
Any 80s kid should recognize my newest piece. It's a fan-art of The Great Owl from the 1982 animated classic, The Secret of NIMH. I grew up on Don Bluth animations (An American Tale, Land Before Time, All Dogs Go to Heaven) and his work is a great influence on my own. The fluidity of his character's movements, the brilliant lighting effects, and the dark, gorgeous backgrounds are some of the traits that made me fall in love with his style. Although my piece was just a quick tip of the hat, I hope you all enjoy it!
Drawing his lyrical style from his hardships growing up in Springfield, Mass. and being raised by his single mother of five, Stalen Wright (stage name 'Stahlen' for pronunciation purposes) is stepping his foot into the rap game. He currently resides in Greensboro, NC and is hard at work sending his music to Roc-Nation in hopes of a record deal. I was commission by him a few months back to create the covers for his first two mixtapes. He had the rough concept of what he wanted and let me color inside the lines, so to speak.
For the first mixtape (above) I went with a crumpled paper look to try and emphasize 'throw away rhymes'. The "beast mic" concept was what Stahlen came at me with. I liked how it almost symbolizes that the microphone comes alive when he starts to rap. The second cover (below) is almost a carbon copy of the first with a few tweaks/color variations and more of a darker, nighttime feel to it. Be sure to listen to these mixtapes over at his ReverbNation.
