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“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.

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