Saturday, November 30, 2013

Art from the now defunct World of Warcraft TCG

Thought I'd post a few of the last paintings I did for the now defunct World of Warcraft collectable card game.  Not by coincidence are these some of my better pieces I did for that game. That's because it took a while to warm up to working on Warcraft.  As I'm sure you already know, Warcraft style sensibilities are pretty ham-fisted and obnoxious. Also, there isn't a whole ton of room for creative freedoms because many of the characters or settings had a very specific look that needed to be stuck close to. But after working on multiple sets for the card game, I grew to embrace and have fun with it.

The huge super-stylized armor and design motifs are based on assembling a bunch of simple shapes which plays into my strengths quite comfortably. Warcraft also seemed appropriate for splashy and vibrant colors which I tend to like to employ. These factors and being given some time to warm up to the game gave me the opportunity to do some paintings for which I'm pretty pleased.

This all worked out best for me if the commission was essentially "make this character look cool/awesome/kick ass".  It's when these characters with their massive and cumbersome armor had to be doing a specific action that it became an awkward chore. There is almost no action that can be done in some of this armor other than stand there looking tough.

Here's some Warcraft art from some previous posts:

Here and a tree guy Here.

Thursday, October 24, 2013

Reincarnation! And the reincarnation of my MTG Price List!

First off - there's a brand new Magic card out there for which I did the artwork.  It is called "Reincarnation" and was quite fun to do.  Now, when my mom exasperatedly asks me if I ever draw anything "cute" (ya know, instead of slavering horrors), I can say "Yes, Mom - check it out!"

Secondly, as per popular request, I have finally updated my Magic: The Gathering Original Art price list!  Obviously, not ALL of my cards are listed here - any ones you don't see on this list means they were either sold years ago or they are too new to have been added just yet.  But all the artwork I currently have in my possession is here - plus many that have been SOLD just so ya know not to inquire about them.

Any artwork marked with an "F" means it is framed.  Artwork marked with "NFS" means it is currently not for sale.  And any marked with a "?" means I'm not sure if I still have it or not (I'm so organized!).

I sometimes get questions about why there is such a disparity in prices on these paintings.  I mostly base my prices on my personal feelings about the artwork. But I also consider the size (most pieces are between 9x12 and 12x16), how new/old it is, and how popular the card might be.

If you are interested in any of these paintings, contact me at:

Here's the list! (updated 6-21-14):

****The list of my original Magic artwork has been updated and is now in a more recent post. See that you go there for prices and availability!!******

Tuesday, September 24, 2013

Eberron art wants a home!

Most people are inspired to go make artwork like crazy when they get back from a face-meltingly awesome visual feast like IlluxCon.  I guess I am, too - however, I was much more inspired to straighten up the epic chaos of my messy studio and reorganize a lot of the storage dilemmas I had going on in there.

My biggest problem with storage has become where to put all my artwork. Sure, I sell art now and again, but not nearly as fast as I am creating it.  The stuff is piling up quick.  This inspired me to maybe try and find a good home for some of my older stuff that I unearthed in the process.

Buried amidst a bargeload of artwork that had long since been retired from my GenCon convention array was a box of mostly artwork that I did for the D&D tangent world: Eberron. Back in 2003, I was invited out to Wizards of the Coast to work on conceptualizing this new world along with Dana Knutsen and Mark Tedin. When the Eberron books started getting commissioned out, I began doing a bunch of interior spot illustrations for them.

In a handful of years setting up shop at GenCon I have sold quite a few, but I still have some remaining.  Mind you, these are pretty old - from like 2004 and 2005, maybe as late as 2006. I paint differently now, much more confidently and with more seasoned results.  But these are still fun pieces - and if you're an Eberron fan or have any nostalgia for my mid-aughties interior art, perhaps you can provide a better home for some of these pieces than I can (which is a dusty file box in a dark corner of my studio!) Well, except for the big "Dragons of Eberron" wrap-around cover painting - that one hangs in our hallway but is nonetheless also for sale.

If you want to purchase anything you see here, send me an e-mail at:
Price list key for everything you see here is below the pics.

Any purchases over $300 and I'll throw in an original Eberron sketch much like the one found HERE on my draw-blog!

A - The Forge (Where the warforged are born/created)  $150
B - Lhazaar Prince  $150

Warforged Pieces
E - Lord of Blades. Probably my fave of my Eberron interior spots. $350
F - Warforged paladin strikes! $200
H - Warforged stops a charge. $250

Sarlona Pieces
K - Cloaked Sarlonan. $100

Black-n-White Pieces from the book: Dragons: World Afire:

O - Dragons of Eberron book cover: $7000
This painting was reworked a few years after it was published because I needed a big piece in my booth at GenCon. The original version was nice enough but there was just a few little things that started to stick in my craw as it sat around my studio getting scrutinized daily so I touched up the dragon fortress, added the bronze dragon and changed a few other little details. The painting is acrylic 39.5x17 in a plain wood frame (would probably look nice in a better frame for sure). You buy this and I'll pay shipping and throw in a personalized copy of my book AGGREGATE for free.

Thursday, September 19, 2013


Soon the first set in the Theros block will be released - so it's time to release a post about it on my blog here. Theros is Magic: the Gathering's Ancient Greece-inspired set for which Todd Lockwood, Eric Deschamps, Adam Paquette, Pete Morbacher, Richard Whitters, and I worked on the concept design phase.  I have a a nice chunk of cards coming out in Theros and the subsequent sets so here are the first in line along with the pencil roughs for each.

Above is probably my favorite out of all of them: "Prognostic Sphinx". Being a fan of planetariums and  the old representational drawings of constellations, this was a treat to work on. 
Below is an artifact card called: "Fleetfeather Sandals".  I don't often do artifact cards but I enjoyed this one.  The set specifically calls for bright colors and sun-drenched scenes so it forced me to play with bright sunlight and sharp shadows. I used a palette knife to texture that rock she's standing on there.

Next we have "Nessian Courser" - a centaur patrolling the forests of Theros. Pretty straight forward here. You'll notice I changed the tree behind the horse-dude from drawing to painting.  That's because at the time I had painted a lot of gnarly, crooked trees and I wanted to break out of that a little.  Yeah, in hindsight maybe the gnarly tree would have been a little more dynamic but I switched to a tree more representative of the set at least.

Lastly, we have another one I'm pretty pleased with: "Warrior's Lesson". You can read a little bit about some of my concept design tasks in one of the previous posts here but one of my jobs was to develop the looks of the humans in the three regions of Theros.  In regard to this card, I had to come up with a "green" tribe of Amazons and give them appropriate armor and design elements. I gave them bold, leather armor with thick straps and a sweeping forward crest on their helmets which ended with loose leather straps dangling down the neck and back.  I was quite pleased I got to focus some finished detail on the outfits of these ferocious ladies of the forest.

You'll notice the switch in arm position of the lead warrior.  I fussed with that for hours trying to find a position for her sword arm that fit the frame best. Some days there is a lot of erasing. Ugh.

Speaking of Theros, I'll be making a card-signing appearance for the Theros Prerelease Saturday September 21st at a store called "Fog of Dusk" on Bethel road right here in Columbus, Ohio.  I'll be there from 3:00 to at least 7:00 (8:00 at the latest). I'll be selling artist proofs, prints, and playmats. For anyone that likes to spend money, I'll also bring a few original paintings and maybe even a set or two of some special black-on-black planeswalker cards I've heard so much about. See you there!

Tuesday, September 10, 2013


I'll be making two appearances in the next 11 days.  First and foremost, I'll be in Allentown, PA this weekend for IlluxCon.  I'll be there, yes, but so will a big fat barge load of other artists that will melt your face and brain with their spectacular artwork.  If you like fantasy art or incredibly well-crafted paintings - or incredibly well-crafted fantasy artwork, this is the place to be.  The convention starts this wednesday (September 11) for the main IlluxCon show - then Saturday and Sunday another wave of artists rolls in (I'm part of that wave). I'll be showin' and sellin' original artwork, prints, and books.

Second appearance will be a short signing stint at the Theros prerelease at the "Fog of War"game store on Bethel rd here in Columbus, Ohio.  It'll be your very first opportunity to get your brand new Theros cards signed by me!  I'll be there Saturday September 21 from 3:00 to 8:00.  I'll be selling books, prints, artist proofs, and playmats. See you there!

Thursday, August 22, 2013

Theros Concepts

I was tooling around the internet looking to see what artwork has been spoiled from Magic: The Gathering's upcoming Theros set today.  I didn't find any of my cards just yet, but I did find a couple pictures of some of the concept designs I did.

I'm not sure what has or has not been mentioned in Theros articles, nor do I know what all has made it from concept to final product as far as ideas, so I feel I probably shouldn't speak of any details just yet. Never-the-less, perhaps I can be infuriatingly vague in order to keep this post from being mostly empty! Mind you, I have no idea what conceptual ideas made it to the final version of the world as far as the story and what-not so this information is just what I was thinking at the time - and may have little to no bearing on what is actually included in this set.

So, for these particular drawings, I was looking to develop the look and feel of warriors from three distinct regions in the Theros world.  As with the concept designs I did for Lorwyn and Innistrad, it was important to have visual cues and shapes that make spotting and differentiating these Greeky peoples easier - but keeping it all feeling like it's from the same world.

They are all humans, so costuming was the key here.  Warriors on the left wear/use polished, gleaming bronze, with white and cool-colors.  Their crested helms are horse hair. In the middle are warriors that wear dark bronze, angular designs, and use reds and other deep, warm colors.  Their crested helms are bronze. On the left, the warriors wear woven leathers in browns and greens. Their helms have leather crests.  

There are other more subtle variations here and obviously this covers just atypical warriors and not magic users or regular civilians, etc. But the themes and visual cues are what I was trying to establish.  You'll have to see the set when it comes out to see how much of this came through in the end!

Speaking of Theros, I'll be appearing for a handful of hours at the Theros prerelease Saturday September 21st at a shop called "Fog of Dusk" right here in Columbus, Ohio! I'll be signing cards and selling tantalizing Magic:TG artwork in various forms from 3:00 to 8:00. Come one, come all!

Thursday, August 1, 2013

Variant Planeswalkers on eBay!!!

Now's your chance to bid and win the auction for the original artwork used for the SDCC Magic:TG Planeswalker cards.  That's right, win ALL FIVE Planeswalkers in one feel swoop.  Ya got 7 days from 3:15pm on August 1st. Go get 'em!


Thursday, July 25, 2013

SDCC Planeswalkers


So here they are in all their black-n-white glory: the Magic:the Gathering M14 Planeswalker promo card illustrations.  Wow, such a long title - but, as I have heard on the internet vine, deservedly so.  At least for now, those little cards are VERY highly coveted. The project however, didn't start out as illustrations for exclusive promo cards that you could only get at the San Diego Comic Con.


I was originally commissioned to do these planeswalker images as multi-use graphics that would go on t-shirts and a few other sundry M:tG products not directly part of the game itself. Much to my delight and excitement, a little while after I had completed these illustrations, Wizards decided to use these very same pieces on the aforementioned SDCC exclusives - a pretty damn big deal.  Planeswalker cards are popular in the Magic community - let alone extremely rare exclusives like this was to be.  And yes, I was compensated for the switch in primary use of the images (a nice little surprise bonus just before Christmas last year!)


About the illustrations themselves well, not only was it a switch in technique for me from full-color painting that I'm used to these days to a straight up black-n-white, but it was also a different way of approaching the black-n-white imagery as well.  My art director (and long-time friend) Matt Cavotta pushed me to drop reliance on lines to define form and shape and trust in a harsh, singular light source and shadow to make the image work.  This took some time for it to click as I had filled my freelance schedule for years and years on black and white pen-n-ink work - almost all of it defined by the linework of the drawing.  It was very easy to slip back into my old habits and take a more "comic book style" approach using lines and stylized shading, etc.  But Matt kept nudging me in the right direction until finally I saw exactly what he wanted. After that moment, it became really fun to do these.


The images that are shown here (and used on the final cards) are technically mixed-media.  They started out as mars black acrylic on bristol paper but through a lot of back and forth with Matt, we ended up cleaning up parts and portions of each one to make them stronger images.  Most of it was "simplifying" - that is, just dropping unnecessary details in favor of larger areas of positive shapes or negative space.  Lilliana and Garruk required a little bit more attention to make the lighting situation work better though.  All of this, of course, was much easier to do digitally than if I was masochistic enough to rework them traditionally.  In the end, I'd say they are probably 90% traditional and 10% digital.


So, speaking of the originals of which there has been quite a bit of interest, I will indeed be putting them up for auction.  I'm hoping to do so by August 1st.  All five will be auctioned together - and yes, I'll have pictures of the actual (untouched by digital retooling) illustrations on the eBay auction.  So get your bidding pants on next week!

Monday, July 15, 2013

P.A.C.T. Support!

Hey people!  Pardon me but I'm kinda slow hopping in with my word-of-mouth support on this important project called P.A.C.T. (Professional Artist-Client Toolkit).  This is an idea conjured up by a group of talented, business-savvy, and (most importantly) intelligent artists working out there in the world - concerned with making it a better and more fair landscape for us artists to work in.  The idea is to have a database website for illustrators to reference when out there trying to make a living.

The site will be a resource destination for  illustrators with sample contracts, educational resources, and a list of companies reviewed in the member's area. As a member, there will be a ratings tool to rate companies based on contract terms, rate of pay, timeliness of payment, and ease of working with client.

If you are an illustrator at any stage of your career, this is a project worthy of your interest and support.
Right now, the support most needed is contributing funds - funds needed in the next four days to reach the set goal.

 Heck, enough of my interpretation of the project and all it's about, go to the Indiegogo page for P.A.C.T., check out the video of the venerable Todd Lockwood breaking it down for you - and then read up on everything they're trying to do there.  Also, check out all the goodies you can get depending on how much money you contribute.

If you're foolishly interested in only Steve Prescott product - well, one of the perks includes a copy of my book AGGREGATE. Hop on over, check it out, and give it its due attention!

Sunday, June 2, 2013


June 7th and 8th (that's this coming weekend y'all!), fellow fantasy art doodler Dan Scott and I will be making an appearance at the Magic: The Gathering Grand Prix in Providence, Rhode Island. Both of us will be signing all day Saturday (10:00 to 8:00) and most of the day Sunday.

The official playmat for the show features the above Summer-themed illustration by that guy I am.  The first 250 teams to register on-site on Friday will get one.  That makes this sucker a pretty nifty limited edition playmat!

Dan and I will be armed to the teeth with sharpies - ready to sign anything you put in front of us: cards, playmats, binders, cleavage, etc.  We'll also be selling artist proofs and prints (and maybe even a couple original Magic paintings!).  Hope to see you there!

For more information on the event go to:  PROVIDENCE GP 2013

Thursday, April 25, 2013

SIDE PROJECT: Birthday Invites

I often get asked if I do any artwork outside of fantasy or gaming.  Or fantasy gaming.  The answer is YES.  Unless you're asking if I ever get PAID for any of my work outside of fantasy gaming.  Then the answer is almost always NO. But I do indulge in plenty of creative projects beyond my "work".  One ongoing project is illustrating my daughter's birthday party invitations. 

Every year since my daughter was about to turn two, I have crafted a simple, kid-friendly illustration for each of her party invitations.  This year she's turning eight!

Don't know why I didn't do a first birthday piece to start it all off.  But I did do a baby shower illustration if I can find where that one is.  Luckily, the rest of these are in a folder on my computer so I had easy access to drag 'em out and share them. Pardon the aesthetically wretched copyright tag on each one (the internet is full of pathetic douchebags that like to steal artwork and use it for their own gain). I have also extracted the text for most of these, too - nobody needs to know when to show up to a party that happened four years ago - and nobody needs to know my phone number either.  I spend too much time as it is not answering my phone.

So have a look.  And then have some cake. All images ©copyrightsteveprescott 2006-2013.

There are five 5's in the birthday 5 piece.  Likewise, there are eight 8's in the octopus one. Find 'em all and then give yourself a pat on the back!

Thursday, April 4, 2013

Old World of Warcraft Shtuff

I spend a lot of time posting about Magic:The Gathering but not too much about the other TCG I do work for: World of Warcraft.  Obviously, it doesn't have the fervent fanbase that M:tG has and the design and sensibilities are very specific, but I have a lot of fun when working on a WoW piece. The first five or six illustrations I did for WoW were lackluster - I think it took some warming up to their crazy, ham-fisted style.  But once I figured out where my boundaries were and when I could stretch those or not, it started to click.

I'll spare you from seeing some of those first pieces when I was getting my legs under me and jump ahead a few jobs to what you see here.  Not only do these mark when I started to have a better approach and enthusiasm for Warcraft art, they also came at a time when my painting style started to get a little bolder and painterly.  Whether one was the result of the other or not, I'm not sure.

There are a handful of recurring visual-cues for Warcraft art.  First, dudes are built like juicing narcissistic bodybuilders and females are lithe and sexy.  Second, armor and weapons must be insanely huge and impractical.  And thirdly, lots of shit glows.  Take, for instance, the piece at the top of the draenei sorcerer and the Moonkin one below.  Expect there to be multiple light-sources and/or multiple glowing items in each WoW illustration.  Rare is the piece that has NO glowing anything in it. Heck, even that archer guy below has nocked a glowing arrow!  Why is it glowing?  Just turn your brain off and look at the pretty pictures.

Accounting for all the glowing shit and crackling energy and what-not can sometimes be a bitch.  But I often welcome the challenge and try not to put too much emphasis on the complications of those little details.  As with any job, I have to try and make whatever is asked of me look awesome somehow.  A dude in huge armor using a bow and arrow? Wha? Well, ok - here ya go.

I get asked all the time what medium I work in.  If I don't feel like explaining myself, I say acrylic - because, for finished full-color artwork, it is true 99.9% of the time.  Unless it's for World of Warcraft.  the truth is, almost all of my Warcraft art has a degree of digital touch ups.  Some more extensive than others.

Most of the time, there are fixes and reworks asked of me after the final art has been turned in. It is unusual if anything major is asked - usually it's quite small.  For such things, I just bring it up in photoshop and fix it in a few minutes.  All three of the images above have some minor digital tweaking here and there - making the glow a tad glowier, punching up the contrast just a smidge, etc.  Still, they are predominantly acrylic paintings.  I could still show and sell the original paintings - they are finished pieces by themselves.

But have I ever done a digital piece before?  No - not 100% digital.  But this one here comes the closest.  This piece is probably 75% digital.  The dude in the foreground retains some painted elements that I tweaked and worked over - everything else is digital.  Why did I do this? Well, this piece was going nowhere fast and I had exactly NO enthusiasm to traditionally paint it that day.  I decided to just scan in what I had and muck around with it digitally and see what happens.  It's effective and looks nice shrunk down - but it's not a very memorable or good illustration. I did however want to show it as an example of an extremely rare foray into professional digital work on my part. Photoshop was very helpful in getting me through that piece, but it's not a dish I want to eat very often.

Friday, March 8, 2013

Magic:The Gathering Original Artwork Price List

In lieu of a proper database for the time being, I'm posting a roughly slapped together price list of all the original Magic:TG paintings I still have and that would love to have a new home!

I'd say about 80% of these are 9x12 inches - some are bigger.  Only the Lorwyn Harbinger pieces are slightly smaller than 9x12.  All are acrylic on bristol paper.

If any of these interest you or if you have questions, e-mail me at and we can discuss things further.

This list has been removed temporarily.  I have sold 10 paintings since I posted it and I now have to relist it minus the sold paintings so I don't have to keep telling everyone which ones I don't have anymore!

Magic Card Action Illustrating

I don't flex my "action" illustration muscles often enough - usually my job is to just make things look cool, scary, beautiful, etc.  So when the times comes around to illustrate a scene of some very specific action, it can often be uncomfortable for me.  A lot of the "action" in my commissions are purposely left fairly vague - it'll be something like "show an armored lancer charging into battle" or "show our two heroes attacking a giant spider" and so on.  Those type descriptions leave a lot open to interpretation and artistic license.  I can construct the scene according to just shapes and negative space - how I position the lancer on his horse can dictate how the rest of it falls into place.  I could have guys getting trampled, skewered, jumping off to the side, taking a swipe, reeling in horror, or eating an ice cream sandwich.  But the general action is still there.

But sometimes the action is described more specifically.  Take these two pieces.  The first is "Shattering Blow".  The description: a Ravnican giant swinging a heavy wrecking ball on a chain and smashing a statue of a certain character.  These items had to be laid out with much more deliberation and thought - I needed to retain the energy of the scene but also solve the problem.  Composing this is suddenly a different animal - I can't just toss secondary components in there anywhere like I am prone to doing.

This other one is "SlaughterHorn".  This is even more difficult of an action because I needed to show an action that is a reaction to another action.  These types of descriptions can often be impossible and thus, really annoying.  An example of an action/reaction scene: "show a warrior beheading an ogre and the ogre's head rolling away".  You can't really show both those things in one illustration without some sort of aesthetically lame gimmick.  You can show the head rolling away and the headless body tumbling to the ground and maybe the warrior in a followed-through pose.  But you can't show the beheading AND the rolling away head in one still snap shot.  In this piece, the description was to show a gruulox battering a hapless servant creature - and the servant creature is flying limply into the air.  One is a reaction to the other - but luckily the events are close enough together that with some rather ham-fisted visual suggestions, the viewer is lead to put together the events in their heads.  The motion blur of the gruulox's charge, the bloody mist of the impact, and the trail of blood as the servant flies off limply.  Sure, none too subtle, but it solves the problem while retaining some energy in the scene.

Here's one that I posted before called "Divine Deflection".  The art description wanted a Innistrad priest using his divine powers to send a whirling battle axe back at the thrower - specifically, the axe was supposed to be bouncing off the priest as I recall.  Eegads, that's a bitch.  But here's another chain of actions that needed to be shown to properly illustrate the card.  I needed to imply that the axe was coming toward the priest, was magically intercepted, and is being returned at the attacker. First of all, illustrating a thrown axe whirling through the air is a son of a bitch by itself and I loathe the day I ever have to illustrate one again.  But then I have to show this specific action/reaction along with it?  Ugh.

My first move as a prima donna artist is to nix the "bouncing off the priest" part - that just flat out did NOT work.  BUT, what did work for the same mechanics was having the axe boomeranging around the back of the magical priest dude and heading back to the thrower.  To ham-fist it home, I put glowy trailers on the whirling axe so it looks like it was tossed by a "black" creature, intercepted by the "white" creature and returned using "white" magic. Oh yeah, and then I had to paint it and make it look professional somehow. This was probably the most difficult of these three to orchestrate and the success of the final image regarding what was requested is questionable (the axe doesn't look like it is rotating at all!) but at least it looks pretty good on a card.  And hey, that counts for something!

NOTE: First, just so you youngsters don't think you can just go all rogue on an assignment, I didn't change the specifics of the action on Divine Deflection without running it by the Art Director first.  Secondly, yes, I'll bitch and moan about art descriptions from now and again, but I still welcome the challenge almost all the time.  Illustration is about problem solving in many ways and though the aesthetics of the artwork are sometime impeded by difficult specifics, you'll never learn anything and grow as an artist without putting yourself in uncomfortable situations and taking on challenging assignments.  

Thursday, February 7, 2013


Here's a couple more pieces from the latest batch of Ravnica Magic: The Gathering cards - for the set called "GateCrash".  Above is "Sapphire Drake".  Rendering architecture is not my comfort zone so I decided to go a little out of my way and try and get some of that semi-gothic Ravnican architecture in there - even if it is kinda just slapped in as a background.

This one is called "Syndic of Tithes".  Kinda of a difficult pose to pull off - but the dramatic lighting kinda makes it work.  I decided here to play it simple with the architecture behind him - the idea of big graphic shapes making the figures pop out a little more seemed like it would work well.

Some additional news about appearances this year:  The first weekend in June I will be at the Providence Rhode Island GP signing cards, selling AP's, prints and books, and probably signing playmats, too.  Y'all live in New England area, here's your chance to come and heckle me.

Though I have yet to actually send in my money for it, I will be at IlluxCon in Allentown, PA in September.  I'll have a bargeload of original artwork yet again - prints, and books, too.  Mark it on your calendar if you even remotely like fantasy art created with traditional media - it is a treat for the eyes.

Tuesday, January 22, 2013


"Crowned Ceratok" 

This is one of my latest pieces for Magic: The Gathering's Return to Ravnica set called "Gatecrash".  This image has been cropped down for the card but, when I went to paint it, I thought maybe a little more of a widescreen look might be cool for the original so I opened it up a little horizontally and just added some more panicked street folk.

I'm not usually one to explore subtle color variations and textures but I got a chance to do that in the ceratok's elephant-like hide which was rather fun to do.  The effect doesn't come across as well when it is shrunk down to card size but you can see some of that here.

I also don't often get a chance to play around with complex light and shadow scenarios like this (like REAL artists do!).  Here I have figures in the foreground in complete shadow and then right behind them are figures bathed in bright sunlight - enough to wash it out and push that spatial difference between the two.  I had to do a lot of orchestrating of atmosphere and light to properly place all those fleeing and getting-trampled people in there - not something I am used to but a welcome challenge none-the-less.

In scenes like this, I like putting in one figure that is getting the worst of the deal.  In this case, the dude being ripped to shreds by the twist of the ceratok's horned snout ruins what was just a quick run to the deli to get a bagel.  Poor bastard.