“Our brief was to work traditionally to produce botanical, anatomical and nightmarish studies in the style of Old Masters, filtered through David’s unhinged mind,” says Matthew. “We worked in charcoal, and nibs and inks based on the styles of da Vinci and Rembrandt respectively. A direction from Ridley, production designer Chris Seagers and set decorator Victor Zolfo to give us an aesthetic touchstone. The Italian ‘anatomical Venus’ wax figures were another direction.
“But then the sheer number of drawings required changed. This forced us to adopt a hybrid approach mixing traditional and digital, and from working directly on the lovely Japanese paper stock to printing on it. It also meant that after both equally working on the final art for David’s quarters, Dane took charge of the daunting amount of imagery for the huge Lab set and I for the Shaw likenesses in the Scroll Room.
“Overall, I think Dane and I worked well as a tag-team,” Matthew adds. “We’re immensely proud of the job we did, and as fans ourselves we hope that other Alien fans dig it, too.”
See page 97 for our review of The Art and Making of Alien Covenant.
Another Dane Hallett’s pieces as the ‘hand of David’, this represents the character’s tipping point in his descent into madness. Concept art by Wayne Haag showing the environment of Paradise. The look and feel needed to convey a sense of gloomy isolation. Concept artwork by Wayne Haag showing the crash site of the Juggernaut spacecraft.
One of a series of images created by Dane Hallett for the marketing of the film.