For anyone familiar with the Realm of Tah’afajien series, the arrangement for Book 4’s cover falls into a familiar layout.
Art of TWE: Cover Painting
The Art of TLAD: Chapter Ornamentation (Pt. 5)
The final part of this series in which I cover chapters fourteen through seventeen of The Long and Dark.
Please note that there are series end-of-story SPOILERS below, so read at your own risk.
The Art of TLAD: Chapter Ornamentation (Pt. 4)
Part four, in which I go over chapters ten through thirteen. At this point, some of the imagery borders on spoiler territory, so view at your own risk.
The Art of TLAD: Chapter Ornamentation (Pt. 3)
Part three, in which I cover chapters six through nine. This includes two variants on the published artwork.
The Art of TLAD: Chapter Ornamentation (Pt. 2)
Unlike previous stories, the artwork for The Long and Dark focuses a lot more on scenery, architecture and physical objects found in the world. This makes sense considering the book’s focus on the city’s appearance and the mood of loneliness and horror it’s intended to facilitate.
The Art of TLAD: Chapter Ornamentation (Pt. 1)
When working on The Long and Dark, I wanted to create something different for the layout of the book’s interior. While the Realm of Tah’afajien series has always had a set layout design, I’ve had allowances to experiment with the presentation of my stand-alone works.
The Art of TLAD: Cover Painting
As a part of the usual non-writing portion of pulling a book together, I went about painting the cover in early 2018, even before the manuscript had seen a proper editing. Much like the artwork for the Realm of Tah’afajien series, I stuck with completely hand-painted art instead of digitally-edited for The Long and Dark.
The Art of TKK: Callie and Ceosan
Part two of the series for The Killing Kind. This pairing features a younger Callie Evans (around 14 during this story) and the Moa’rehnzan despot, Carolus Res Ceosan.
The Art of TKK: O'mas and Zonda
As with the earlier entries in the series, I worked up a series of character sketches on prominent characters in The Killing Kind. Much like A Prison of Flesh, this series is a set of four, with a limited color palette. Just like the blue used for APOF, this set features green as a major identifying color. Below are the first two in the series.
The Art of TKK: Cover Painting
For those familiar with earlier books in the Realm of Tah’afajien series, the cover for Book 3 falls in line, layout-wise, with Book 2, where the image is features a major character and a prominent location in the story. This time around, the focus fell on Marianus O’mas and the Moa’rehnzan capital city of Gran’rehnza.
