Thursday, October 29, 2009

Sam Webber

Check out these brilliant illustrations by Sam Webber at

Lord of the flies


Lord of The Flies | The Folio Society
A new illustrated edition of William Golding’s Lord of The Flies. Art Director: Sheri Gee.


Painted Faces and Long Hair.


The Signal Fire.


Beast From Air.


Lord of The Flies.


The Shattered Conch


Soul pepper theatre


Soulpepper Theatre | 2009 Season
A series of posters for Toronto’s Soulpepper Theatre. Art Director: Anthony Swaneveld. PIctured above, Antigone by Sophocles.


Travesties by Tom Stoppard.


Parfumerie by Miklós László


The Guardsman by Ferenc Molnár


Loot by Joe Orton


Monday, October 26, 2009

Thursday, October 22, 2009

Anatomy of Jap monsters


Yōkai Daizukai, an illustrated guide to yōkai authored by manga artist Shigeru Mizuki, features a collection of cutaway diagrams showing the anatomy of 85 traditional monsters from Japanese folklore (which also appear in Mizuki’sGeGeGe no Kitarō anime/manga). Here are a few illustrations from the book.

Kurokamikiri anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Kuro-kamikiri [+]

The Kuro-kamikiri (”black hair cutter”) is a large, black-haired creature that sneaks up on women in the street at night and surreptitiously cuts off their hair. Anatomical features include a brain wired for stealth and trickery, razor-sharp claws, a long, coiling tongue covered in tiny hair-grabbing spines, and a sac for storing sleeping powder used to knock out victims. The digestive system includes an organ that produces a hair-dissolving fluid, as well as an organ with finger-like projections that thump the sides of the intestines to aid digestion.

Makuragaeshi anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Makura-gaeshi [+]

The Makura-gaeshi (”pillow-mover”) is a soul-stealing prankster known for moving pillows around while people sleep. The creature is invisible to adults and can only be seen by children. Anatomical features include an organ for storing souls stolen from children, another for converting the souls to energy and supplying it to the rest of the body, and a pouch containing magical sand that puts people to sleep when it gets in the eyes. In addition, the monster has two brains — one for devising pranks, and one for creating rainbow-colored light that it emits through its eyes.

Dorotabo anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Doro-ta-bō [+]

The Doro-ta-bō (”muddy rice field man”), a monster found in muddy rice fields, is said to be the restless spirit of a hard-working farmer whose lazy son sold his land after he died. The monster is often heard yelling, “Give me back my rice field!” Anatomical features include a gelatinous lower body that merges into the earth, a ‘mud sac’ that draws nourishment from the soil, lungs that allow the creature to breathe when buried, and an organ that converts the Doro-ta-bō’s resentment into energy that heats up his muddy spit. One eyeball remains hidden under the skin until the monster encounters the owner of the rice field, at which time the eye emerges and emits a strange, disorienting light.

Hyosube anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Hyōsube [+]

The Hyōsube, a child-sized river monster (a relative of the kappa) from Kyūshū that lives in underwater caves, ventures onto land at night to eat rice plants. The monster has a relatively small brain, a nervous system specialized in detecting the presence of humans, thick rubbery skin, sharp claws, two small stomachs (one for rice grains and one for fish), a large sac for storing surplus food, and two large oxygen sacs for emergency use. A pair of rotating bone coils produce an illness-inducing bacteria that the monster sprinkles on unsuspecting humans.

Yanagi-babaa anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Yanagi-baba [+]

Yanagi-baba (”willow witch”) is the spirit of 1,000-year-old willow tree. Anatomical features include long, green hair resembling leafy willow branches, wrinkled bark-like skin, a stomach that supplies nourishment directly to the tree roots, a sac for storing tree sap, and a cane cut from the wood of the old tree. Although Yanagi-baba is relatively harmless, she is known to harass passersby by snatching umbrellas into her hair, blowing fog out through her nose, and spitting tree sap.

Mannendake anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Mannen-dake [+]

The Mannen-dake (”10,000-year bamboo”) is a bamboo-like monster that feeds on the souls of lost travelers camping in the woods. Anatomical features include a series of tubes that produce air that causes travelers to lose their way, syringe-like fingers the monster inserts into victims to suck out their souls, and a sac that holds the stolen souls.

Fukurosage anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Fukuro-sage [+]

The Fukuro-sage — a type of tanuki (raccoon dog) found in Nagano prefecture and Shikoku — has the ability to shapeshift into a sake bottle, which is typically seen rolling down sloping streets. The bottle may pose a danger to people who try to follow it downhill, as it may lead them off a cliff or into a ditch. The Fukuro-sage usually wears a large potato leaf or fern leaf on its head and carries a bag made from human skin. The bag contains a bottle of poison sake. Anatomical features include a stomach that turns food into sake, a sac for storing poison that it mixes into drinks, and a pouch that holds sake lees. The Fukuro-sage’s urine has a powerful smell that can disorient humans and render insects and small animals unconscious.

Ka-sha anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Kasha [+]

Kasha, a messenger of hell, is a fiery monster known for causing typhoons at funerals. Anatomical features include powerful lungs for generating typhoon-force winds that can lift coffins and carry the deceased away, as well as a nose for sniffing out funerals, a tongue that can detect wind direction, and a pouch containing ice from hell. To create rain, the Kasha spits chunks of this ice through its curtain of perpetual fire.

Bishagatsuku anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Bisha-ga-tsuku [+]

The Bisha-ga-tsuku is a soul-stealing creature encountered on dark snowy nights in northern Japan. The monster — which maintains a body temperature of -150 degrees Celsius — is constantly hidden behind a fog of condensation, but its presence can be detected by the characteristic wet, slushy sound (”bisha-bisha“) it makes. Anatomical features include feelers that inhale human souls and cold air, a sac for storing the sounds of beating human hearts, and a brain that emits a fear-inducing aura. The Bisha-ga-tsuku reproduces by combining the stolen human souls with the cold air it inhales.

Kijimuna anatomical illustration from Shigeru Mizuki's Yokai Daizukai --
Kijimunaa [+]

The Kijimunaa is a playful forest sprite inhabiting the tops of Okinawan banyan trees. Anatomical features include eye sockets equipped with ball bearings that enable the eyeballs to spin freely, strong teeth for devouring crabs and ripping out the eyeballs of fish (a favorite snack), a coat of fur made from tree fibers, and a nervous system adapted for carrying out pranks. The Kijimunaa’s brain contains vivid memories of being captured by an octopus — the only thing it fears and hates.

Flickr user modern_fred’s Japanese movie monster scan collection includes a few vintage illustrations detailing the innards of Godzilla and other famous kaiju.

Anatomy of Godzilla --

This anatomical sketch of Godzilla reveals a relatively small brain, giant lungs that allow underwater breathing, leg muscles that can support 20,000 tons of body weight, and a “uranium sack” and “nuclear reaction sack” that produce radioactive fire-breath and energize the body.

* * * * *

Anatomy of Jiger --
Jiger reveals her inner self

According to this anatomical drawing, Jiger has a pair of horns that can shoot missiles made of hardened saliva and one that fires a deadly magnetium (?) beam.

Anatomy of Jiger --
Jiger (uploaded by Paulkaiju)

Other characteristics include extremely powerful suction cups covering the entire body, an organ that enables Jiger to spit jets of seawater at 300 kilometers per hour, a stomach that can melt iron ore, and a tail that functions as an ovipositor.

* * * * *

Anatomy of Mothra larva --
Mothra larva

This anatomical sketch of Mothra in larval form shows a robust jaw, an enormous stomach, an elongated silk-producing organ, a row of breathing orifices on either side of the body, countless cilia on the bottom surface, and a rudimentary nervous system consisting of a cerebral ganglion and a network of nerve ganglia distributed across the body.

* * * * *

Anatomy of Guiron --
Guiron — a peek inside the belly of the beast

* * * * *

Anatomy of Anguirus --

This anatomical diagram of Anguirus shows eyes that can detect infrared light, a pair of sub-brains that control the forelegs and rear legs, highly developed rear leg muscles, and a heavily spiked rear carapace.

* * * * *

This illustration of “Flaming Monster Gamera” (from An Anatomical Guide to Monsters) reveals eyes that can see in the dark, arms strong enough to lift and throw a 50-ton boat, and “fire sacks” that let Gamera shoot flames from his hands.

Anatomy of Gamera --

The illustration also shows a series of sack-like organs for storing lava, oil, coal and uranium (like Godzilla), as well as balloon-like organs in the legs that can blast air through the bottoms of the feet.

Tuesday, October 20, 2009

Saturday, October 17, 2009

PS: Hand-drawn effect


When preparing a tutorial, a screenshot for a book or magazine article, or an illustration for a technical document, it’s not uncommon to identify a critical area with a circle or a square. Here’s how to add a little flair to that emphasis. Let’s say you’re discussing a screenshot of Photoshop’s Layers palette and you want to make sure that your point is clear. Perhaps you’re explaining that a layer mask thumbnail should be selected, rather than the thumbnail for the layer itself. One way to do that is with a colored circle. Make a selection around the item, then use the Edit> Stroke command. You can even use the Line shape tool to add an arrow for greater emphasis.

NOTE: If you’re using the Stroke command with a rectangular selection and want sharp corners, use the Inside option. If you want gently rounded corners, use Outside.

To spice up that effect a bit, work on a separate layer and add a bevel and/or drop shadow layer effect.

But here’s how to do something special, something (not yet) common: a “hand drawn” effect.
1. Add a new layer (optional, but highly recommended).
2. Make a round or elliptical selection around the element you need to highlight.
3. At the bottom of the Paths palette, click the button that converts the selection to a work path. If you think you might need to re-use this path later, double-click the name Work Path in the Paths palette and name the path to save it.

4. Select the Brush tool.
5. In the Brushes palette, select your brush tip, hardness, roundness and other such options. In this example, we’ll show an angled round brush, using the Dual Brush option and adding a “spatter” brush to make the edges a bit irregular.

Clicking the Stroke Path button at the bottom of the Paths palette using this brush would produce a rather interesting effect, but we can do even more.
6. Still in the Brushes palette, open the Shape Dynamics pane. (Click on the name “Shape Dynamics” to open the pane, rather than clicking the checkbox to the left.)
7. In Shape Dynamics, set the Size Jitter slider to somewhere between 10 and 40%. Set the Control pop-up menu to Fade. The appropriate number to enter into the Steps field depends on the circumference of the path that you’re stroking, as well as the minimum size you’ve selected.

8. At the bottom of the Paths palette, click the Stroke Path button to apply your brush to the path. You may need to Undo and adjust the number of steps several times until you get the look you want.

9. [Optional] With the path still active, you can stroke again, using another brush, another color, even a different tool, such as the Burn or Dodge tool, to further customize your look. The Paths palette menu command Stroke Path opens a dialog box in which you can select a tool with which to stroke. Remember, too, that if you are working on a separate layer, you can change the blending mode and adjust the opacity of the layer, too.
10. Click in an empty area of the Paths palette to deselect your path.

Friday, October 2, 2009