Animation Art By Ken Anderson For Disney’s ROBIN HOOD (1973).

illustrator john kenn mortenson

Concept art and the finished puppet/suit/rig by Rick Baker for An American Werewolf in London (1981).

The first time I saw it I was about 10. That transformation scene: man. You could almost feel it happening to yourself. In later years though, whenever I would think of the film, the first images that popped up were of those misty moors at the beginning of the film. Tense.

Señorita Gato, by Stephanie Chaves.

The Horned King animatronic in Disneyland, Tokyo. Part of the finale to the Cinderella Castle Mystery Tour, the attraction was one of the few instances of Disney acknowledging THE BLACK CAULDRON it seems.

The attraction lasted from 1986 to 2006.

'She Kissed The Bear On Muzzle' - John Bauer

I love the wind. The sun is joy, the rain is sadness—but the wind: mystery. The tumultuous firs in TWIN PEAKS. Or the windswept park in BLOW-UP (1966). There’s a hint of menace.

Swiss painter Félix Vallotton (1865-1925) captured the sinister disquiet of a windy landscape well. In the second painting, we see a boy chasing a ball. He is surrounded by looming shadows. In the distance, two mysterious figures have a meeting. Is the boy about to stumble upon something he shouldn’t have seen?

Concept drawings for Hanna-Barbera’s SCOOBY-DOO by Alvaro Arce and others. 1969/70s.

First editions (and publications) of stories that became Stanley Kubrick films: Lolita, Dr. Strangelove, 2001: A Space Odyssey (based on Sentinel of Eternity in 10 Story Fantasy, 1951), A Clockwork Orange, Barry Lyndon (The Luck of Barry Lyndon, Fraser’s magazine, 1844), The Shining, Full Metal Jacket, Eyes Wide Shut.

Combining the gritty 1970s aesthetic with the neon power of the 1980s: Blade Runner (1982) concept art by Syd Mead.

Illustrations by Maria Bubleva for a 1989 Russian—Soviet—edition of ALICE IN WONDERLAND. I love the dreamlike colors.