FrankenWine’s Lab

Pencil drawing of Flyora (Aleksei Kravchenki) towards the end of the film.

Elem Klimov’s Come and See, 1985

Black and white acrylic painting over red and black roughly transferred inkjet print. Red text reading “Exterminate all rational thought” is repeating and overlapping to form a gradient red-black background. The head of William Lee (Peter Weller) -wearing his trademark fedora and glasses while smoking a cigarette- crowns a long centipede body emerging from a Mugwump’s mouth like a tongue.

Exterminate all rational thought.
David Cronenberg’s Naked Lunch (1991)
Mixed media.

Behind the scenes photo of Richard Brooker in makeup as Jason Voorhees for Friday the 13th Part III. Caption below reads “LIVE JASON VOORHEES REACTION” in white bold text on a red breaking news style strip.

Its so bleak

A Heavy Mechanized Infantry miniature painted to resemble a standard WWII Soviet tank during the Invasion of Berlin. Rough, rusted green painted steel with white markings - invasion identifier stripes on the helmet, chest and shoulders, a hammer and sickle on the chest and left shoulder, and number 42 on the right shoulder. In its right hand it holds a large industrial sledgehammer, and on its left arm a shield bearing the moniker МОЛОТ НАРОДА - the Hammer of the People, as well as an emblem of a fist clutching a hammer. It charges forward, balanced on one leg while swinging its hammer at a barbed wire fence. Front 3/4 view.

A Heavy Mechanized Infantry miniature painted to resemble a standard WWII Soviet tank. Rough, rusted green painted steel with white markings - invasion identifier stripes on the helmet, chest and shoulders, a hammer and sickle on the chest and left shoulder, and number 42 on the right shoulder. In its right hand it holds a large industrial sledgehammer, and on its left arm a shield bearing the moniker МОЛОТ НАРОДА - the Hammer of the People, as well as an emblem of a fist clutching a hammer. It charges forward, balanced on one leg while swinging its hammer at a barbed wire fence. Front view.

A Heavy Mechanized Infantry miniature painted to resemble a standard WWII Soviet tank. Rough, rusted green painted steel with white markings - invasion identifier stripes on the helmet, chest and shoulders, a hammer and sickle on the chest and left shoulder, and number 42 on the right shoulder. In its right hand it holds a large industrial sledgehammer, and on its left arm a shield bearing the moniker МОЛОТ НАРОДА - the Hammer of the People, as well as an emblem of a fist clutching a hammer. It charges forward, balanced on one leg while swinging its hammer at a barbed wire fence. Right side view.

42, Молот Народа. Heavy Mechanized Infantry, Soviet Invasion of Berlin style.
@trenchcrusade.bsky.social

A Heavy Mechanized Infantry miniature painted to resemble a standard WWII Soviet tank. Rough, rusted green painted steel with white markings - a star on the chest, a hammer and sickle on the left shoulder and number 161 on the right shoulder. It stands on muddy ground full of debris, a visible human skull, and broken barbed wire fencing. It holds a large machine gun, with a chain affixed to the shoulder pads for support. Front view.

A Heavy Mechanized Infantry miniature painted to resemble a standard WWII Soviet tank. Rough, rusted green painted steel with white markings - a star on the chest, a hammer and sickle on the left shoulder and number 161 on the right shoulder. It stands on muddy ground full of debris, a visible human skull, and broken barbed wire fencing. It holds a large machine gun, with a chain affixed to the shoulder pads for support. Front 3/4 view.

A Heavy Mechanized Infantry miniature painted to resemble a standard WWII Soviet tank. Rough, rusted green painted steel with white markings - a star on the chest, a hammer and sickle on the left shoulder and number 161 on the right shoulder. It stands on muddy ground full of debris, a visible human skull, and broken barbed wire fencing. It holds a large machine gun, with a chain affixed to the shoulder pads for support. Back 3/4 view.

Closeup to show detail

161. Heavy Mechanized Infantry, WWII Soviet tank style. @trenchcrusade.bsky.social

Pen sketch of the alien worm monster from The Deadly Spawn. It has three eyeless heads with large toothy mouths, and a pair of three-clawed arms

Douglas McKeown’s The Deadly Spawn (1983), pen and ink.

A painted Krite egg is placed at the center of an Easter basket, surrounded by other colorful eggs and a chocolate bunny. The Krite egg has hatched, with a clawed hand reaching into the sky, and green yolk dripping out of its cracked shell.

Mick Garris’ Critters 2: The Main Course (1988), pen and acylic.

Pen sketch of Krites from critters. The biggest one stands in the center, while two smaller Krites careen forward over its head, rolled into furballs. Another smaller Krite stands in front of the big one, grinning and holding the decapitated head of an E.T. the extraterrestrial stuffed doll.

Stephen Herek’s Critters (1986), pen and ink.

Pen sketch. A delivery guy holds a pizza box, his eyes have been brutally removed. On the lid of the open box, above the pizza, is a scene of 3 slumber partygoers sitting, huddled together and clutching knives for self defense against the unseen slasher.

Amy Jones’ The Slumber Party Massacre (1982), pen and ink.

Ink sketch of The Phantom from the climax of Inland Empire

David Lynch’s Inland Empire (2006), pen and ink.

Monochromatic blue painting of Betty and Rita, their crying faces merging together.

David Lynch’s Mulholland Drive (2001), acrylics.

Pen sketch. Godzilla and his giant robot friend Jet Jaguar stand back to back, facing off against sinister foes: the drill-armed insectoid Megalon and the blade-happy space-chicken Gigan.

Jun Fukuda’s Godzilla vs Megalon (1973), pen and ink.

Pen and ink sketch of Sailor and Lulu (Nic Cage and Laura Dern) depicted as heads of matchsticks, burning brightly together in darkness.

David Lynch’s Wild at Heart (1990), pen and ink.

Pen sketch of a baby creeper from Mickey 17

Bong Joon Ho’s Mickey 17 (2025), pen and ink.

Pen sketch of an oyster helf-shell, with the head of Moretti (John Malkovich) embedded in the oyster’s flesh like a pearl.

Mark Anthony Green’s Opus (2025), pen and ink.

Pen sketch. Blade stands stoically behind a Reaper Strain vampire, sword in hand. The reaper’s skull has been cleanly sliced in half by Blade’s sword, revealing brain matter as the top of it slides off to the right. The reaper’s mouth is open to its fullest extent, jaws split like a snake’s, with a secondary Alien-like jaw protruding from its throat. Blood arcs from the cut in the head to the sword, marking the arc it has traveled

Guillermo del Toro’s Blade II (2002), pen and ink.

Pen sketch. Four roses rise from the canal of a severed human ear, rotting and covered in ants

David Lynch’s Blue Velvet (1986), pen and ink.

Monochromatic green painting. Count Orlok gazes out into the night, framed by the crossbars of a broken window.

Nosferatu - A Symphony of Horror (1922), actylics.

The titual Dr. Caligari glowers menacingly, his top hat transforms into a stylized scene of Cesare the somnambulist kidnapping Jane

Robert Wiene’s The Cabinet of Dr. Caligari (1920), pen and ink.

Pen and ink sketch of a scene from Metropolis, depicting a factory transformed into a demonic altar which devours the workers en masse.

Fritz Lang’s Metropolis (1927), pen and ink.

Pen sketch. Tammy embraces her boyfriend, Michael, whose brain has been trapped inside a mechanical Tyrannosaurus

Stewart Raffill’s Tammy and the T-rex (1994), pen and ink.

Acrylic painting of the wind up toy monkey from the Monkey, its face in a splattery pool of blood. The Monkey’s catchphrase “Like Life!” Is written under its face.

Osgood Perkins’ The Monkey (2025) acrylic

Pen sketch of Iris from compnion with binary code superimposed in front of her. The code translates to Stalin’s birthdate: 12/18/1878, which plays an important role as a safe password in the film.

Drew Hancock’s Companion (2025) pen and ink.

Monochromatic aqua green acrylic painting of Elisa and the Amphibian Man sharing a loving embrace underwater.

Guillermo del Toro’s The Shape of Water (2017), acrylics. @realgdt.bsky.social

Pen sketch featuring the two lead characters from The Vow. Leo’s (Channing Tatum) face is superimposed over Paige’s (Rachel McAdams) head, in profile.

Michael Sucsy’s The Vow (2012), pen and ink.

The Miner’s gas-masked head emerges from a heart shaped box of chocolates, blood seeps from beneath the box, and a splatter of blood forms the shape of a heart on the mask’s vent.

George Mihalka’s My Bloody Valentine -uncut version- (1981). Pen and ink.

Ink sketch of Gorcha, an undead patriarch risen from the grave as a vourdalak to feed on his family.

Adrien Beau’s Le Vourdalak (2023) pen and ink.

Portrait of the masked “Heart Eyes Killer” in black and white ink with glowing red eyes, in front of a crimson Valentine’s heart. Below the killer’s head, a human heart is pierced by an arrow, the blood dripping from it completes the silhouette of the Valentine’s heart

@joshruben.bsky.social‘s Heart Eyes (2025). Pen, ink, and acrylic.

Acrylic painting of Tony Todd as Candyman and Virginia Madsen as Hellen in the style of Klimt’s “The Kiss”. Helen appears in her urban legend form, hair burnt off and skin a pale blue. Candyman holds Helen in a close embrace, bees swarming out of his mouth and forming a halo around the pair as he leans in to kiss her. His fur coat is patterned with honeycomb, and Helen tenderly holds his hook hand.

Bernard Rose’s Candyman (1992), acrylic.

William Kersten’s Disembodied (1998), pen and ink.