The Dark Baroque
May 2017·pp. 42–49
THE SHORT VERSION
John Blanche describes the inseparable development of his drawing and miniature painting, from tin knights and museum work to concept design and running the studio. Nature, old buildings, history and the miniature range feed an instinctive visual memory, with rapid sketches intended to open possibilities for sculptors rather than function as polished finished art.
He discusses the exchange between models and illustration, the evolution of the studio’s visual language and his preference for the term baroque. Reflections on colour, iconic covers and the Pilgrym community explain why he keeps converting strange fringe characters and how other hobbyists’ work continues to provoke new ideas.
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Find this article in White Dwarf 418, pp. 42–49.
Printed page 47 incorrectly carries an October 2016 footer; the cover and surrounding pages identify May 2017.
This is an original summary. Refer to your magazine for the complete article, rules, images and painting steps.