JONAS NATHANAEL
Illustrator and Concept Artist
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Blame! Fan project

If Blame had colors, I always envisioned it being less of the typical sci-fi bleak palette and more of a psychedelic retro world where organic and synthetic elements clash.

If Blame had colors, I always envisioned it being less of the typical sci-fi bleak palette and more of a psychedelic retro world where organic and synthetic elements clash.

For Cibo’s design, I pulled inspiration from Rick Owens and Yohji Yamamoto. I love that grungy avant-garde look where contrast comes from materials instead of color. There’s something poetic about soft leather against cold metal.

For Cibo’s design, I pulled inspiration from Rick Owens and Yohji Yamamoto. I love that grungy avant-garde look where contrast comes from materials instead of color. There’s something poetic about soft leather against cold metal.

The organic sci-fi feel also gave me the perfect excuse to sculpt in 3dcoat. I love how it accentuated the contrast between the soft and hard edges in the synthetic terminal and I think this fits Blame!' visual language nicely.

The organic sci-fi feel also gave me the perfect excuse to sculpt in 3dcoat. I love how it accentuated the contrast between the soft and hard edges in the synthetic terminal and I think this fits Blame!' visual language nicely.

The main goal for this project was to pretend I was in a real production pipeline, keeping the design sheets as clear and concise for the modelers, texture artists, rigging artists, heck even storyboard artists with the action poses.

The main goal for this project was to pretend I was in a real production pipeline, keeping the design sheets as clear and concise for the modelers, texture artists, rigging artists, heck even storyboard artists with the action poses.

I took inspiration from Polygon Pictures’ adaptation. Especially with the feet and synthetic terminal. I wanted to expand on that idea and think about how she might use them in combat.

I took inspiration from Polygon Pictures’ adaptation. Especially with the feet and synthetic terminal. I wanted to expand on that idea and think about how she might use them in combat.

Like traditional bladesmiths who temper the edge of a sword but keep the spine flexible, I applied the same logic to her feet. Tempered heels for impact, whilst the rest remain flexible to absorb impact.

Like traditional bladesmiths who temper the edge of a sword but keep the spine flexible, I applied the same logic to her feet. Tempered heels for impact, whilst the rest remain flexible to absorb impact.

I’ve always loved the eerie world of Tsutomu Nihei’s “Blame!”, its expansive city-scapes, weird fusion between flesh and machine. This is my take on Cibo, reimagined in my style.

If Blame had colors, I always envisioned it being less of the typical sci-fi bleak palette and more of a psychedelic retro world where organic and synthetic elements clash.

I decided to take a more graphic approach, this gave me freedom to highlight the juxtaposition of the glitch effects and cell tissue, and to experiment with a desaturated focal point against brighter colors.

For Cibo’s design, I pulled inspiration from Rick Owens and Yohji Yamamoto. I love that grungy avant-garde look where contrast comes from materials instead of color. There’s something poetic about soft leather against cold metal. Same local values, but completely different feelings.

I took inspiration from Polygon Pictures’ adaptation. Especially with the feet and synthetic terminal. I wanted to expand on that idea and think about how she might use them in combat.
Like traditional bladesmiths who temper the edge of a sword but keep the spine flexible, I applied the same logic to her feet. Tempered heels for impact, whilst the rest remain flexible to absorb impact.

The organic sci-fi feel also gave me the perfect excuse to sculpt in 3dcoat. I love how it accentuated the contrast between the soft and hard edges in the synthetic terminal and I think this fits Blame!' visual language nicely.

The main goal for this project was to pretend I was in a real production pipeline, keeping the design sheets as clear and concise for the modelers, texture artists, rigging artists, heck even storyboard artists with the action poses. I trimmed it all from ten pages to about five or six, focusing on clarity and quality over quantity.

I also repainted the main piece four times before I was finally happy with it. Hope you enjoy this exploration!

And thank you for reading through all my thoughts, it’s nice letting it out after staring at this project for a while 🤣

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