Moin
I wanted to show a selection of my studies. I usually paint with oil paints, but when I'm on the road for work, I also paint with pastel kr3ids because they are much more compact to handle and have no drying time 🫠
If these are well received, I will be happy to show you more and if there are any questions about certain motives, I will be happy to answer them in the comments.
Greetings from Husum, Germany!
I wanted to share one of my first sci-fi oil paintings.
From the beginning I've been fascinated by the visual worlds created by artists like Chris Foss, John Berkey and John Harris. Especially the artwork I discovered on old book covers and in the Terran Trade Authority books has stayed with me for years.
I'm trying to capture a little of that spirit again, using traditional media such as oil paint and pastels.
This painting is from 2025 and depicts an orbital station above a distant planet. Large ships dock here to transfer cargo and passengers, while smaller craft handle transportation between the station and the surface. It makes more sense than sending kilometer-long freighters down into a gravity well every time.
No battle.
No catastrophe. No great dramatic event.
Just everyday activity somewhere very far from home. A small safe harbour for ships after a long journey.
I also included a few pictures showing how I plan these paintings with sketches, as well as the DIY sci-fi frame I built for it.
Moin
Inspired by the TTA book covers I know from my youth, I painted this oil painting on wood. A research vessel approaches a protostar system and first maps the dust clouds in order to be able to orient itself based on the density differences therein. The shield at the front serves as a kind of protective shield against minor impacts and is at the same time crammed with sensors of any kind. And it is already a little inspired by the Icarus 2 from the film Sunshine.
What a feeling the crew would feel if they were the first to dive into such a haze after a long journey...
I hope you like it.
Moin
Inspiriert durch die TTA Buchcover die ich aus meiner Jugend kenne habe ich dieses Öl Gemälde auf Holz gemalt. Ein Forschungsschiff nähert sich einem Proto Sternensystem und kartografiert erstmal die Staubwolken um sich anhand der dichteunterschiede darin orientieren zu können. Das Schild vorne dient als eine Art Schutzschild vor kleineren Einschlägen und ist zugleich Vollgestopft mit Sensorik jeglicher Art. Und es ist schon ein wenig inspiriert durch die Icarus 2 aus dem Film Sunshine.
Welches Gefühl wohl bei der Crew ausgelöst würde wenn diese nach langer Reise als erste in solch einen Dunst abtauchen würden...
Ich hoffe es gefällt euch.
Hallo
Schon als junger Mensch war ich fasziniert von den Kunstwerken der alten Künstler wie Chriss Foss, John Berkey usw., die unter anderem für die Buchcover der TTA-Reihe verwendet wurden.
Da solche Bilder mit dem Geist heutzutage selten sind, habe ich mich vor etwa 1,5 Jahren entschlossen, solche Bilder mit Ölfarben selbst zu verewigen.
Diese monumentalen Strukturen an fernen Orten, die ein Gefühl von Abenteuer, den Drang nach Neuem und den Pioniergeist vermitteln.
Hier ist eines meiner Werke auf Aluminium, ein kolossales vertikal ausgerichtetes Raumschiff, das auf einer kleinen Plattform geparkt ist, um Besatzung und Güter zu transportieren. Die Triebwerke sind mechanisch ausrichtbar. Wenn es konstant mit 1G beschleunigt, zeigt es angenehme Schwerkraft für die Besatzung und erreicht innerhalb weniger Wochen atemberaubende Geschwindigkeiten. Auf halbem Weg dreht es sich um 180° und verlangsamt sich wieder mit 1G, bis es sein Ziel erreicht. Völlig ausreichend für interplanetare Reisen in einem Sternensystem.
Ich hoffe, es gefällt dir.
Ahjo weshalb Aluminium Dibond? Ja es ist teuer und die Malfähige bearbeitung kostet Geld und Kraft(schleifenschleifenschleifen) aber es ist nahezu Verzugsfrei. Wenn man alte Ölgemälde auf Leinwand sieht entstehen diese Typischen Risse mit der Zeit. Und es passt Thematisch besser und ist nun meine Wahl des Malgrundes.
Ahjo, hier ist ein kleines Erstellungsvideo!
Hello
Even as a young person, I was fascinated by the artworks of the old artists such as Chriss Foss, John Berkey, etc., which were used, among other things, for the book covers of the TTA series.
Since such images with the spirit are rare nowadays, I decided about 1.5 years ago to immortalize such images myself with oil paints.
These monumental structures in distant places that convey a sense of adventure, the drive for something new and the pioneering spirit.
Here's one of my works on aluminum, a colossal vertically aligned spaceship parked on a small platform to transport crew and goods.
Hi
As a youngster, I was already fascinated by the artworks of the old artists such as Chriss Foss, John Berkey, etc., which were used, among other things, for the book covers of the TTA series.
Since such images with the spirit are rare nowadays, I decided about 1.5 years ago to immortalize such images with oil paints myself.
These monumental structures in distant places that convey a sense of adventure, the drive for new things and the pioneering spirit.
Here is one of my works on aluminum, a colossal vertically aligned spaceship parked on a small platform to carry crew and goods. The engines are mechanically alignable. When it accelerates constantly with 1G, it shows pleasant gravity for the crew and reaches breathtaking speeds within a few weeks. Halfway through, it turns 180° and slows down again with 1G until it reaches its destination. Completely sufficient for interplanetary travel in a star system.
I hope you like it.
Ahjo, here's a little creation video!
I’ve always liked the idea that even the most exotic places in the universe might eventually become workplaces.
So I imagined a refinery operating close to a black hole — not a heroic exploration vessel, but a piece of infrastructure. The small ship is there for supplies, maintenance and crew rotation.
Somewhere unimaginably far from home, people would still have shifts to finish, machines to repair and cargo waiting for a customer.
Six months for the crew. Three years for the customer.
I painted this one traditionally in oils on a 100 × 50 cm canvas. The spacecraft and refinery concept are my own designs.
Hi
Ich wollte mal ein Bild von mir pisten was ich mit Ölfarben auf Holz gemalt habe. Ich wollte das Gefühl des beklemmenden, des Abenteuerdranges festhalt3n und ich hoffe es kommt rüber.
Der DIY Rahmen ist selbst entworfen und Gebaut
This is not TTA fan art, but the old Terran Trade Authority books were definitely part of the inspiration behind the way I like to imagine the future.
I always loved how those books treated enormous spacecraft and strange places almost like pieces of industrial history: who built them, what they were used for, where they operated, and what eventually happened to them.
So I tried to approach this painting in a similar spirit.
The installation is an exotic-matter refinery operating close to a black hole. Its purpose is not exploration for its own sake, but industry: harvesting and processing material that can only be obtained under conditions this extreme.
The smaller vessel is a service ship, carrying supplies, replacement equipment and rotating crews between the refinery and safer space.
The distances involved make even routine logistics absurdly slow.
Six months for the crew, three years for the customer.
The painting itself is traditional oil on panel and the design is my own — more of a small tribute to the kind of believable future history that made the old TTA books so fascinating to me.
I used to be a diver myself. When I played Subnautica a while ago, that old feeling came up again - the pull down, where the light stops, and at the same time the compulsion to keep shining anyway. That's exactly what I wanted to capture here: isolation and the urge to explore in one picture.
Painted in oil on wood. The frame is completely self-designed, 3D printed and hand-ground and assembled - should look like a find from a foreign colony, not a picture from the hardware store.
Ich stellte es mir wie eine exotische Materieraffinerie vor, die um ein rotierendes Schwarzes Loch herum arbeitet.
Die Belohnung müsste außergewöhnlich sein: Nur ein solcher Ort könnte das Risiko, die Strahlung und die Kosten rechtfertigen. Das kleine Schiff dient als Shuttle für geborgenes Material, Vorräte und den Personalwechsel.
Mich interessiert vor allem der menschliche Aspekt. Eine sechsmonatige Schicht am Boden könnte für Menschen, die weiter entfernt sind, etwa drei Jahre bedeuten. In diesem Sinne ist die Raffinerie nicht nur eine Industrieanlage, sondern auch ein Ort, an dem sich die Arbeiter zeitlich vom Rest der Gesellschaft abkoppeln.
Traditionelles Ölgemälde, 100 x 50 cm.
Wenn eine solche Anlage auch nur annähernd plausibel wäre, was wäre der erste wirkliche Engpass?
I hope this fits here.
The artworks of the Terran Trade Authority's books were part of the science fiction images that fascinated me as a teenager, and they still influence how I imagine space exploration today.
With this painting, I wanted to capture a little of that old sense of departure beyond the familiar map: a ship approaching a young star and being protected by a massive particle and radiation shield. Not a fight scene or action scene, but an expedition into an environment that humans should never enter.
I traditionally paint these scenes in oil. For me, science fiction has always been most interesting when a spaceship seems less like a vehicle and more like the ships of old explorers - something that takes people to a place that is still largely unknown.
I’ve always liked the idea of space exploration having something in common with the old age of sail, a small vessel approaching a place that is still largely unknown.
Not a battle, not a huge fleet.
Just an explorer, a moon and something waiting beyond the familiar.
Painted traditionally in oils on canvas, 50 × 70 cm.
I hope this fits here.
The artworks of the Terran Trade Authority's books were part of the science fiction images that fascinated me as a teenager, and they still influence how I imagine space exploration today.
With this painting, I wanted to capture a little of that old sense of departure beyond the familiar map: a ship approaching a young star and being protected by a massive particle and radiation shield. Not a fight scene or action scene, but an expedition into an environment that humans should never enter.
I traditionally paint these scenes in oil. For me, science fiction has always been most interesting when a spaceship seems less like a vehicle and more like the ships of old explorers - something that takes people to a place that is still largely unknown.
Dies ist eines meiner früheren Sci-Fi-Ölgemälde. Die Idee war eine Forschungsexpedition in den Ozean einer anderen Welt. Keine Actionszene, sondern ein kleines Tauchboot, das eine Umgebung erkundet, in der selbst das lokale Leben noch weitgehend unbekannt ist.
Ich wollte, dass sich die Waage etwas unwohl fühlt: ein winziges Forschungsfahrzeug, ein riesiges Gewässer und Organismen, die in den Tiefen darunter verschwinden.
Ich mochte auch nicht wirklich die Idee, es in einen herkömmlichen Holzrahmen zu stecken, also entwarf ich einen individuellen Rahmen dafür. Die einzelnen Abschnitte wurden 3D-gedruckt und um das Gemälde herum zusammengebaut. Ich habe versucht, das Design irgendwo zwischen Industrieausrüstung und Raumfahrzeugen zu halten, anstatt es übermäßig dekorativ zu gestalten.
Ölgemälde, komplett handgemalt.
Ich bin neugierig auf eine Sache aus der SF-Perspektive: Was wäre eigentlich das größte technische Problem für ein Tauchboot, das einen fremden Ozean erforscht: Druck, Chemie, Kommunikation, Angst oder etwas anderes?
This is one of my earlier hard sci-fi oil paintings. The idea was a research expedition into the ocean of another world – not an action scene, but a small submersible exploring an environment where even the local life is still largely unknown.
I wanted the scale to feel slightly uncomfortable: a tiny research vehicle, a vast body of water, and organisms that disappear into the depths below.
I also didn't really like the idea of putting it into a conventional wooden frame, so I designed a custom frame for it. The individual sections were 3D printed and assembled around the painting. I tried to keep the design somewhere between industrial equipment and spacecraft interior rather than making it overly decorative.
Oil painting, entirely hand painted.
I'm curious about one thing from the hard-SF perspective: what would actually be the biggest engineering problem for a submersible exploring an alien ocean: pressure, chemistry, communication, fear or something else?
Ich hoffe, das passt hier.
Die Kunstwerke der Bücher der Terranischen Handelsbehörde waren Teil der Science-Fiction-Bilder, die mich als Jugendlicher faszinierten, und sie beeinflussen immer noch, wie ich mir die Weltraumforschung heute vorstelle.
Mit diesem Gemälde wollte ich ein wenig von diesem alten Gefühl des Aufbruchs jenseits der bekannten Karte einfangen: ein Schiff, das sich einem jungen Stern nähert und von einem massiven Teilchen- und Strahlenschutzschild geschützt wird. Keine Kampfszene oder Actionszene, sondern eine Expedition in eine Umgebung, in die Menschen niemals eintreten sollten.
Ich male diese Szenen traditionell in Öl. Für mich war Science-Fiction schon immer am interessantesten, wenn ein Raumschiff weniger wie ein Fahrzeug und mehr wie die Schiffe alter Entdecker wirkt – etwas, das Menschen an einen Ort bringt, der noch weitgehend unbekannt ist.
I hope this fits here.
The artwork of the Terran Trade Authority's books was part of the science fiction images that fascinated me when I was younger, and it still influences how I imagine space exploration today.
With this painting, I wanted to capture some of that old feeling of venturing beyond the familiar map: a ship approaching a young star and being protected by a massive particle and radiation shield. Not a battle or action scene, but an expedition into an environment that humans should never enter.
I traditionally paint these scenes in oil. For me, science fiction has always been most interesting when a spaceship feels less like a vehicle and more like the ships of ancient explorers - something that takes people to a place that is still largely unknown.
Almost there. One final coat and this one is finished.
I wanted to paint the approach to a young star not as an action scene, but as an expedition into an environment we were never meant to enter.
The large structure at the front of the vessel acts as a particle and radiation shield for the journey through the protostellar environment.
What interests me in science fiction is not just the spacecraft itself, but the old urge to sail beyond the known map, only this time the unknown horizon is another star.
Traditional oil painting. No digital image, no AI.