aj-concepts.net

Lesbian Vampire Killers

LVK titles

Freelance contract for ‘Rushes Film and TV’

Not a high-brow project, but very good fun to work on. All the artists had a lot of creative freedom, and the director (Phil Claydon) was great to work with.

Stages of the ‘Town Street’ illustration for the Film’s prologue. The sequence was meant to have a comic-book feel, so these illustrations were used as backgrounds in the actual film, rather than concepts for a more photo-real painting.

Stages of the ‘Town Street’ illustration for the Film’s prologue. The sequence was meant to have a comic-book feel, so these illustrations were used as backgrounds in the actual film, rather than concepts for a more photo-real painting.

Only direction given was ‘a Crazy Alchemist’s Lair’, so I had a lot of creative freedom.
Only direction given was ‘a Crazy Alchemist’s Lair’, so I had a lot of creative freedom.

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Only direction given was ‘a Crazy Alchemist’s Lair’, so I had a lot of creative freedom.

SketchUP has it’s roots as an architectural modeler, so creating the vaulted ceilings was easier than I expected.
SketchUP has it’s roots as an architectural modeler, so creating the vaulted ceilings was easier than I expected.

SketchUP has it’s roots as an architectural modeler, so creating the vaulted ceilings was easier than I expected.

All of the illustrations were done using a combination of SketchUp and Painter. The aerial forest matte painting was given to me as a challenge – it was far larger than anything I’d ever done before. I learnt ‘Vue’ in a weekend, and then came in on a Monday to do the shot.
All of the illustrations were done using a combination of SketchUp and Painter. The aerial forest matte painting was given to me as a challenge – it was far larger than anything I’d ever done before. I learnt ‘Vue’ in a weekend, and then came in on a Monday to do the shot.
All of the illustrations were done using a combination of SketchUp and Painter. The aerial forest matte painting was given to me as a challenge – it was far larger than anything I’d ever done before. I learnt ‘Vue’ in a weekend, and then came in on a Monday to do the shot.
All of the illustrations were done using a combination of SketchUp and Painter. The aerial forest matte painting was given to me as a challenge – it was far larger than anything I’d ever done before. I learnt ‘Vue’ in a weekend, and then came in on a Monday to do the shot.

All of the illustrations were done using a combination of SketchUp and Painter. The aerial forest matte painting was given to me as a challenge – it was far larger than anything I’d ever done before. I learnt ‘Vue’ in a weekend, and then came in on a Monday to do the shot.

Forest track illustration, also for the title sequence

Forest track illustration, also for the title sequence

Illustration test of Matthew Horne as ‘Jimmy’. The director was hoping to have a fully illustrated poster commissioned, in the style of the old hammer horror films. This was my pitch for me have a go at it.

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Illustration test of Matthew Horne as ‘Jimmy’. The director was hoping to have a fully illustrated poster commissioned, in the style of the old hammer horror films. This was my pitch for me have a go at it.

Concept for the movie’s poster

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Concept for the movie’s poster

Storyboards for the final shotStoryboards for the final shot
Storyboards for the final shotStoryboards for the final shot

Storyboards for the final shot

‘Cragwich Forest’ aerial shot – the first time I used ‘Vue’ in production, as well as the first full establishing of my career
‘Cragwich Forest’ aerial shot – the first time I used ‘Vue’ in production, as well as the first full establishing of my career

‘Cragwich Forest’ aerial shot – the first time I used ‘Vue’ in production, as well as the first full establishing of my career