The Barghest (🇫🇷 Le Barghest)

This illustration was made as a commission for a french Brewery. You can see the creatures on display on their beer bottles on their website http://brasserieautremonde.fr/ The brewery only displays the illustrations in black and white, and the colored version are more a proof of concept of coloring my own digital art.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

Mat the Printer (in pink, with roots)

Just a bit of fun to fiddle around with my new graphic tablet. I needed to take something and try to create a multilayer color project.

Technique

The technique was unlike every color work i made until then. Instead of coloring the layer below, or stacking the layers in multiply mode, i started to usethe alpha layers and build colored shapes in top of the previous one each time.

Level 1

This project was a collab with my favourite local tattoo artist (from Dijon 🇫🇷). I was asked to provide a flash sheet, which theme was entirely free. So i went with that old tabletop RPG vibe that i love, inspired mostly by John Blanche, amongst other famous 80’s concept artists.

I decided to go with it and create 6 flashes, straight from the players handbook. Each design represents an item, spell or creature any 1st level player could encounter during its journey. Of course, keeping in mind i can continue and produce a Level 2 in case of success.

The technique

The sketches was originally drawn on transparent paper, then reported on the lino block, then inked with on the block. Once dried out, the block was carved with gouges: the linocut

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Then, it was all digitalised to add some more details, correct the symmetry and be sure to provide the best tattoo material possible.

This was the first tattoo project that was not meant to be inked on my own skin, which would be followed by 3 more projects. I can’t believe how many people want my designs on their skin so badly

Level 1

This project was a collab with my favourite local tattoo artist (from Dijon 🇫🇷). I was asked to provide a flash sheet, which theme was entirely free. So i went with that old tabletop RPG vibe that i love, inspired mostly by John Blanche, amongst other famous 80’s concept artists.

I decided to go with it and create 6 flashes, straight from the players handbook. Each design represents an item, spell or creature any 1st level player could encounter during its journey. Of course, keeping in mind i can continue and produce a Level 2 in case of success.

The technique

The sketches was originally drawn on transparent paper, then reported on the lino block, then inked with on the block. Once dried out, the block was carved with gouges: the linocut

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Then, it was all digitalised to add some more details, correct the symmetry and be sure to provide the best tattoo material possible.

This was the first tattoo project that was not meant to be inked on my own skin, which would be followed by 3 more projects. I can’t believe how many people want my designs on their skin so badly

Din Djaarin in Jango’s Suit

This project was a personal tattoo project to continue my patchwork sleeve.

It represents Din Djaarin, better known as Mando. When the show went out, i immediately identified as him, as most fathers did, i guess.

This mandalorian reference displayed as a fatherly figure and not as a warrior is absolutely intentional. Din Djaarin doesn’t bear weapons here, only the space coffin of the child he is devoted to, in a posture that reminds of those of St Mary. I didn’t want him to be depicted as the allmighty warrior he certainly is, but as a loving figure of masculinity, which is certainly a lacking role model in the contemporary masculine representation.

This was meant to be inked on my own skin, it’s a personal piece, meant to be kept unique. But if you wznt one of yours, please get in touch with me and i’ll see what i can do to best fit your request

Imposter syndrome goblin

This project was a personal tattoo project to continue my patchwork sleeve. This goblin stands for the imposter syndrome that seem to hit all of us artists

The design is inspired by Saint Barthelemy, depicted as he died : skinned to death, carrying his own skin and the knife of his torturer.

The goblin is a figure of self acceptation: we all are goblins from time to time, ugly, stressed, powerless. There is a goblin archetype called a skin thief, which steals skins to disguise himself as someone else, and hide from danger or infiltrate somewhere. This goblin helps me to keep all of this in mind:

1. In both cases no one will ever notice you don’t fit and you’re an imposter. Either you’re too good a skinthief, or too good at your job.
2. When you’re making mistakes, *be proud of the goblin within you: it is learning
3. Someday you won’t need the goblin skinthief anymore : it means it’s time to move on to something new to learn, and be a skinthief somewhere else

This was meant to be inked on my own skin, it’s a personal piece, meant to be kept unique. But if you wznt one of yours, please get in touch with me and i’ll see what i can do to best fit your request

Stormtrooper on Tattooine

This is an original artwork freely inspired by the XVI century woodcuts. The graphic style tends to imitate the master woodcutters (Dürer, Egenolff, Wolgemut) of the late XVth century, early XVIth , both in terms of tools, techniques, and the posture and symbolism itself.

The scene represents a Stormtrooper of the Galactic Empire, burning down the huts of poor farmers.

This linocut was deeply inspired by Star Wars, because being a nerd is a good way to be inspired by cool stuff

The techniques

The sketch was directly drawn on the lino block, then inked with a quill on the block. Once dried out, the block was carved with gouges: the linocut process itself.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Golden ink was added to the final print, to highlight some details on the final print, such as for the weapon, some part of the armor, and the trooper’s eyes.

Sweet Zombie Jesus

This illustration was done under an hour in Krita

This was made out of fun, between 2 and 3 AM instead of going to bed. Every late night drawing begins with “C’mon, just one last bit”. And ends up way to late.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Chimera (🇫🇷 La Chimère)

This illustration was made as a commission for a french Brewery. You can see the creatures on display on their beer bottles on their website http://brasserieautremonde.fr/ The brewery only displays the illustrations in black and white, and the colored version are more a proof of concept of coloring my own digital art.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Faun (🇫🇷 Le Faune)

This illustration was made as a commission for a french Brewery. You can see the creatures on display on their beer bottles on their website http://brasserieautremonde.fr/ The brewery only displays the illustrations in black and white, and the colored version are more a proof of concept of coloring my own digital art.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Griffin (🇫🇷 Le Griffon)

This illustration was made as a commission for a french Brewery. You can see the creatures on display on their beer bottles on their website http://brasserieautremonde.fr/ The brewery only displays the illustrations in black and white, and the colored version are more a proof of concept of coloring my own digital art.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Minotaur (🇫🇷 Le Minotaure)

This illustration was made as a commission for a french Brewery. You can see the creatures on display on their beer bottles on their website http://brasserieautremonde.fr/ The brewery only displays the illustrations in black and white, and the colored version are more a proof of concept of coloring my own digital art.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Wolpertinger (🇫🇷 Le Wolpertinger)

This illustration was made as a commission for a french Brewery. You can see the creatures on display on their beer bottles on their website http://brasserieautremonde.fr/ The brewery only displays the illustrations in black and white, and the colored version are more a proof of concept of coloring my own digital art.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Hog

This is an original artwork freely inspired by modern linocuts. Stepping aside from my usual renaissance inspired artworks, i decided to take a shot at a modern design.

The scene represents a wounded hog, pierced by several arrows. The main thing about this linocut was to nail the fur, and the shading of the hairs.

The techniques

The sketch was directly drawn on the lino block, then inked with a quill on the block. Once dried out, the block was carved with gouges: the linocut process itself.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Anakin and the Order 66

This is an original artwork freely inspired by the XVI century woodcuts. The graphic style tends to imitate the master woodcutters (Dürer, Egenolff, Wolgemut) of the late XVth century, early XVIth , both in terms of tools, techniques, and the posture and symbolism itself.

The scene represents Anakin Skywalker wearing a XVIth century milanese armor, during the order 66. The two suns of tattooine are shining over a scorched earth, on which the Jedi banner is burning. At the feets of Anakin lays the iconic Darth Vader helmet, as a gothic sallet.

This linocut was deeply inspired by Star Wars, because being a nerd is a good way to be inspired by cool stuff

The techniques

The sketch was directly drawn on the lino block, then inked with a quill on the block. Once dried out, the block was carved with gouges: the linocut process itself.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Allmighty Buffallunicorn (🇫🇷 Bufflicorne)

This illustration was done under an hour in Krita

This was made out of fun, between 2 and 3 AM instead of going to bed. Every late night drawing begins with “C’mon, just one last bit”. And ends up way to late.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Landsknecht

This is an original artwork freely inspired by the XVI century woodcuts. The graphic style tends to imitate the master woodcutters (Dürer, Egenolff, Wolgemut) of the late XVth century, early XVIth , both in terms of tools, techniques, and the posture and symbolism itself.

The scene represents a Landsknecht wearing a XVIth century costume, as seen on imagery (woodcuts, paintings, drawings), from that period of time. This print is a part of a tryptich concerning 3 warriors : a dwarf, a goblin and a human, all three wearing XVIth century war gear.

This linocut was deeply inspired by renaissance art, because being a a history nerd is a good way to be inspired by cool stuff

The techniques

The sketch was directly drawn on the lino block, then inked with a quill on the block. Once dried out, the block was carved with gouges: the linocut process itself.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Technique

The technique used was, as i like to call it “Digital carving " technique. This consists in several succssive steps

1. Sketching using a pencil brush
2. Put a black layer on top, in high opacity to distinguish the sketch through the canvas
3. With a white brush, or on erasing mode, withdraw the black from the canvas to create the whites.
4. The colors were added on a separate layer on top, with the multiply blending mode on

The Duellists

This is an original artwork freely inspired by the XVI century woodcuts. The graphic style tends to imitate the master woodcutters (Dürer, Egenolff, Wolgemut) of the late XVth century, early XVIth , both in terms of tools, techniques, and the posture and symbolism itself.

The scene represents two swordplayers wearing XVIth century costume, and fighting using longswords, as seen on renaissance treatises and codices from that period of time. This print itself was heavily inspired by the works of Tobias Stimmer, and the fechtbuch he produced for Joachim Meÿer from Strassburg. The scene represents a particuliar sword move (disarming the opponent) which consists in seizing the weapon near the crossguard to disarm him.

This linocut was deeply inspired by renaissance art, because being a a history nerd is a good way to be inspired by cool stuff

The techniques

The sketch was directly drawn on the lino block, then inked with a quill on the block. Once dried out, the block was carved with gouges: the linocut process itself.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

The Goblin landsknecht

This is an original artwork freely inspired by the XVI century woodcuts. The graphic style tends to imitate the master woodcutters (Dürer, Egenolff, Wolgemut) of the late XVth century, early XVIth , both in terms of tools, techniques, and the posture and symbolism itself.

The scene represents a Goblin Landsknecht wearing a XVIth century costume, as seen on imagery (woodcuts, paintings, drawings), from that period of time. Though there is little information regarding goblin folk at this era, the costume field itself is pretty well documented. This print is a part of a tryptich concerning 3 warriors : a dwarf, a goblin and a human, all three wearing XVIth century war gear.

When you do not know what to draw, draw a goblin

The techniques

The sketch was directly drawn on the lino block, then inked with a quill on the block. Once dried out, the block was carved with gouges: the linocut process itself.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

Thornwood Parfums

This project was a commission from a NZ brand in the fragrance game. They wanted to develop a strong artwork line, invoking the heavy designs from the gothic medieval era, that i love and try to put forward.

Thornwood wanted 5 woodcuts that evoked a specific mind state. Just as if you could describe an olfactive impression with words. Difficult, innit? Well i did exactly that with feelings and linocut.

Brother Saint Georges in a Dreadnought, fighting with Big Boss Drakka da Dragon

2021, not colorised.

I always loved greenskins and history. And when i had the chance to create an artwork that could use both my passions, i jumped on it.

This project was the right occasion to try to tighten the bonds between a medieval motif and a modern approach of it. I wanted to go for the religious effect on the render, as were the woodcuts from the gothic medieval era, at the very first years of XVIth century

The techniques

The sketch was originally drawn on transparent paper, then reported on the lino block, then inked with on the block. Once dried out, the block was carved with gouges: the linocut process itself. This process was particularly long, due to the massive amount of texts that is included in the orginal poem.

This was one of my earliest projects, one of my biggest occasions to learn and do mistakes. My skill level when i started was nothing close to the one i had when i closed it.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

The Dwarwen Brewery

This fantastic representation of a dwarven colony-sized booze frenzy was inspired by a XIIIth treatise on beer brewing [available here] This linocut depicts a dwarven brewery, a personal view of this poem.

Mainly because I like dwarves and i think the fantasy kind of dwarf encapsulates perfectly the light spirit that i thought might correspond to this XIIIth brewery. This contains the original verses in old french, describing all the malting and brewing process, to the final step of getting hammered and wanting to forget about it all.

The techniques

The sketch was originally drawn on transparent paper, then reported on the lino block, then inked with on the block. Once dried out, the block was carved with gouges: the linocut process itself. This process was particularly long, due to the massive amount of texts that is included in the orginal poem.

This was one of my earliest projects, one of my biggest occasions to learn and do mistakes. My skill level when i started was nothing close to the one i had when i finished it.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.

The technique

The sketch was originally drawn on transparent paper, then reported on the lino block, then inked on the block. Once dried out, the block was carved with gouges: the linocut process itself. This process was particularly long, due to the massive amount of texts that is included in the orginal poem.

This was one of my earliest projects, one of my biggest occasions to learn and do mistakes. My skill level when i started was nothing close to the one i had when i finished it.

To print out something, the carved block was inked with a brayer and printing ink and the sheet of paper was pressed using a printing linocut press.