What if the laptop, mobile phone and MP3 player had been invented in the 1970s? Alex Varanese gives us a glimpse at what might have been if the future had happened sooner. Continue reading “The Art of Alex Varanese”
Sam van Olffen’s world is one where we have allowed technology to take over. His is a brutal vision of big machines, pollution and war, whether it is in the form of a steampunk’d version of Henri-Paul Motte’s portrait of Cardinal Richelieu at the Siege of La Rochelle or a Nazi victory parade across the Thames.
If any artist can show you the “darker, grittier side of steampunk,” it’s Sam. Continue reading “The Art of Sam van Olffen”
The 1993 computer game Transarctica introduced us to a post-apocalyptic world in which huge armored trains were the only way to safely travel between remote human settlements.
The game wasn’t much of a success — one reviewer called it “intentionally annoying” — but the setting proved to be an inspiration. Continue reading “Big Trains in the Snow: From Transarctica to Snowpiercer”
Alexey Lipatov hasn’t done a lot of dieselpunk art recently, but some of his earlier work definitively had an impact on the genre. You can see how it combines streamline industrial design with World War II-era, pulp-style characters. Continue reading “The Art of Alexey Lipatov”
Angelique Shelley is a South African artist living in the United Kingdom, who noticed a preponderance of Western characters and influences in steampunk. Her work helps remedy that imbalance. Continue reading “The Art of Angelique Shelley”
There is an obvious Sky Captain influence in Waldemar von Kozak’s art: big flying machines, robots, German villains. It feels more decodence than dark, Piecraftian dieselpunk, reminiscent of midcentury Modern Mechanix and Popular Science covers, yet his is also clearly a world at war. Continue reading “The Art of Waldemar von Kozak”
No artist has done more to define the dieselpunk aesthetic than Stefan Prohaczka. All the genre’s influences come together in his work: deco, film noir, midcentury pulp, retro-futurism, totalitarian propaganda. Nobody combines it like Stefan and still make it feel coherent and natural. Continue reading “The Art of Stefan Prohaczka”
Günter Radtke was a German illustrator who mostly did work for Stern magazine.
He also illustrated various science-fiction stories, including Ulrich Schippke’s Zukunft: Das Bild der Welt von Morgen (“The Future: An Image of the World of Tomorrow”) (1974), which shows self-driving cars, skyscrapers in the sea and various imagined forms of public transportation. Continue reading “Günter Radtke’s World of Tomorrow”