Blasphemy Ink x Vault Editions: Artist Interview
1. Can you describe your creative process for a piece like 'Savage Redemption', from the first spark of an idea to the final design? Do you usually plan everything out, or do unexpected things sometimes shape the piece as you go?
'Savage Redemption' is one of my favorite pieces I’ve created in recent years. I’ve always had a deep fascination with skulls, they naturally bring a dark atmosphere to my work, and you’ll find skulls featured in many of my illustrations. This particular piece centers around a horned skull, inspired by classic horned skull imagery.
From that initial idea, I like to sharpen or even contrast the core concept with unexpected elements. In 'Savage Redemption', I surrounded the skull with flowers to create a sense of brutal beauty. I also added snakes and a decorative frame, which have become signature elements in my work. Interestingly, I don’t always plan these features in advance. I really enjoy working freely and allowing the process to guide me. Often, ideas evolve or appear spontaneously during creation, and I prefer experimenting in the moment over strictly following a pre-set concept. While I do believe that having a clear concept is important, I find unexpected moments and surprises to be just as valuable, they bring a special kind of life and emotion to the artwork that can’t always be planned.
Savage Redemption by Syadat Baihaqi / Blasphemy Ink Studio
2. You've illustrated some incredible creatures inspired by Greek mythology, like your versions of Hades, Zeus, and Poseidon. What draws you to mythology as a source, and how do you reimagine these well-known figures in your own style?
I’ve always been fascinated by mythology from all around the world. Each myth has its own unique story, and I’ve been deeply inspired by paintings, illustrations, and films that explore these themes. That’s why I decided to create a special collection focusing on mythical creatures, between 2021 and 2022, I worked on two series: Myth Monsters and The Olympians. These collections feature mythological figures from various cultures, with The Olympians specifically visualizing gods like Hades, Zeus, and Poseidon.
When reimagining mythological characters, I always try to bring something unexpected to the table, it’s part of what I enjoy most in the creative process. For example, when I designed Zeus, I imagined him as a powerful, monstrous figure surrounded by thunder, grandeur, and an intense atmosphere. The same goes for Hades, who I portrayed alongside his iconic three-headed guard dog. I started from those classic ideas, then layered in my own signature elements, like snakes and ornamental frames, to make the pieces uniquely mine.
Color also plays a big part in how I visualize these mythological beings. I try to match their palettes to their imagined environments, whether it’s fiery red tones for underworld settings, or deep blues for ocean gods, or stormy grays and golds for sky deities. These choices help the characters feel grounded in the worlds they belong to.
Zeus by Syadat Baihaqi / Blasphemy Ink Studio
3. With 'Cthulhu', from your 'Myth Monsters' series, you took a classic horror figure and gave it your own bold, vibrant twist. How do you approach reimagining well-known creatures in a way that feels personal to you?
Yes, my version of 'Cthulhu' along with other pieces from the 'MYTH MONSTERS' and 'THE OLYMPIANS' series, features a vibrant color palette. That was very intentional. These projects were part of my journey into color experimentation after spending years focusing almost entirely on black and white artwork. I saw this series as the perfect opportunity to explore bold, unexpected color choices and challenge myself creatively.
When reimagining iconic creatures like Cthulhu, I always try to keep the core essence of the original design intact, especially their most recognizable features. But at the same time, I’m not afraid to try new things, especially when it comes to color. I’ve grown to really enjoy adding vibrant tones to creatures traditionally portrayed in darker or more muted styles. That contrast gives the artwork a personal twist while still respecting the mythology behind it.
Cthulhu by Syadat Baihaqi / Blasphemy Ink Studio
4. Your work has such a strong, recognisable style. How did you develop your visual identity and find your voice as an artist?
I’ve always been consistent with my visual language. Even when I experiment with new colors or details, I usually introduce those elements gradually. It’s important for me to stay true to my style while also pushing it forward, step by step. Rather than drastically changing directions, I focus on refining and maximizing what already defines my work.
I think the strong visual identity I have today comes from years of consistent practice. Back in 2016, I focused heavily on detail through dotwork, that was the core of my early work, and I stayed in that lane for quite a while. Eventually, I began incorporating hatching techniques, which gave more texture and depth. In 2020, I shifted more into digital work and started to explore new possibilities in terms of composition and style. That phase helped me land on the visual voice I have today.
I’ve done a lot of experimenting along the way, and I’m sure my style will continue to evolve, but I don’t think the changes will ever be too extreme. I want to keep my visual identity strong and recognizable, while allowing it to grow naturally.
Skull 2019 by Syadat Baihaqi / Blasphemy Ink Studio
5. Your illustrations are incredibly detailed and very labour-intensive. How do you stay creatively energised, especially during long, intricate projects?
Honestly, despite how demanding the work can be, I find the process incredibly enjoyable. Yes, detailed pieces can take a lot of energy, but I make sure to pace myself and take breaks when needed, burnout is real, haha. That said, as an artist, I don’t see intense or complicated projects as something to avoid. On the contrary, pouring my creativity into something that truly reflects my vision is what motivates me most.
I genuinely enjoy long creative processes. They keep me grounded and fully present in my art-making. For me, it’s not always about how long something takes, but about how much creative effort I’ve poured into it. That’s what makes a piece feel like a real accomplishment.
Posideon by Syadat Baihaqi / Blasphemy Ink Studio
6. You've created fantastic artwork for our 'How to Draw' series, helping beginners learn to draw dragons, skulls, monsters, and more. What's most important to you when creating illustrations that are easy to follow but still inspiring?
The most important thing, for me, is starting with the basics, making sure the foundation is clear and easy to follow, both in form and in detail. I always begin with simple shapes, then gradually build up using linework that’s straightforward enough for beginners to replicate.
Even while keeping things simple, I still try to include elements of my own style to make the illustrations more engaging. I want the drawings to be inspiring, not just instructional. I also believe beginners should feel free to add their own creative ideas as they follow the steps. One of the most rewarding parts of this process is designing illustrations that look detailed and dynamic, but are actually quite accessible once broken down.
'Roaring Dragon' by Syadat Baihaqi / Blasphemy Ink Studio from 'How to Draw Dragons'
7. Indonesia is known for its many talented artists and craftspeople. What do you think it is about growing up or living there that inspires so much creativity, and has it influenced how you work?
Indonesia is rich with artistic heritage, and I’ve always been inspired by the visual diversity and the strong sense of creativity found here. From traditional art forms to modern interpretations, there’s so much to learn, not just from the aesthetics, but also from how ideas are communicated visually.
I’ve been especially inspired by Indonesian artists like Nyoman Nuarta, whose consistent and bold sculptural style really stands out. Beyond illustrators, I look up to creatives from different fields who are passionate and true to their craft. Being part of Indonesia’s illustration community also keeps me motivated. There’s an amazing ecosystem here, full of artists constantly pushing out stunning work. That energy, combined with the friendships I’ve formed with local artists, has definitely helped shape my own creative path.
That said, my inspirations aren’t limited to local influences. I also find a lot of creative fuel in the strange and eerie world of H.P. Lovecraft. His unique, otherworldly visuals continue to influence the atmosphere in my work.
Pray of the Universe by Syadat Baihaqi / Blasphemy Ink Studio
8. You've designed lots of amazing merchandise and artwork for bands, especially in the metal world. What excites you most about collaborating with musicians?
Collaborating with musicians is something I take great pride in. It’s a chance to create visuals that truly reflect the band, whether it’s their concept, their sound, or the message behind their music. Being part of that creative translation is incredibly meaningful to me.
What excites me most is aligning our visions, discussing the look, the colors, the complexity, and the emotional depth of the artwork. Finding that shared understanding and turning their sound into visual form is a really rewarding experience. It’s not just about making something that looks good, but something that feels like an extension of their music.
Artwork for Siksakubur by Syadat Baihaqi / Blasphemy Ink Studio
There are a few dream collaborations that I’ve already been lucky enough to do — bands like Siksa Kubur, Psycroptic, Fallujah, and Orbit Culture. But if I could pick more, I’d absolutely love to work with Lamb of God or Slaughter to Prevail. They’re two of my all-time favorite bands, and I feel like their visual identity really aligns with my artistic style. I think working on merchandise for them would be an incredibly exciting experience.
Outside of music, I’d also love the opportunity to collaborate with Magic: The Gathering. I’ve always been a huge fan of the creatures and concepts they bring to life, their dark fantasy world is so in tune with my own vision, and I’d be thrilled to contribute to that universe in any way.
And of course, one dream collaboration that I’m deeply grateful for is Vault Editions. Having the opportunity to work together this year has been such an important milestone in my journey, and I’m excited to see where it leads next.
Artwork for Fallujah by Syadat Baihaqi / Blasphemy Ink Studio
I started out reading self-development books to help me stay focused, disciplined, and emotionally grounded throughout the creative process. Some of the books that have really influenced me include Deep Work by Cal Newport, The Subtle Art of Not Giving a Fuck by Mark Manson, and Quiet Impact: How to Be a Successful Introvert by Sylvia Loehken. These reads reminded me that mindset is just as important as technical skill, especially when working in a creative field.
That said, I also have a small collection of art books and volume series that showcase various artists and visual works, one of my favorites being the Pena Hitam Art series, which features work from over 40 different artists, including some of the creators themselves. It’s always inspiring to revisit those pages when I need a spark of visual energy.
'Skull & Snake' by Syadat Baihaqi / Blasphemy Ink Studio from 'How to Draw Skulls'
11. Who are three artists or creatives whose work you are currently enjoying or finding inspiring?
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Rafal Wechterowicz (Too Many Skulls)
Rafal has been one of my earliest inspirations since I first discovered illustration, especially dark art. The way he draws skulls and objects with such raw energy and emotion really shaped how I approach my own artwork. His work continues to be a major influence on me.
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I absolutely love Brock’s use of color and the freedom in his style. The way he visualizes monsters with such boldness and creativity is something I deeply admire. His approach has definitely inspired my own stylistic choices.
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David Underwood (lamortlondon)
David’s artwork has also played a big role in my creative process. I’m especially drawn to his medieval themes and classic skull visuals, which are exactly the kind of dark, timeless elements I enjoy exploring in my own work.
12. Music plays a huge role in your creative world. If we visited your studio today, what song would be at the top of the playlist?
Honestly, I listen to a wide range of genres, depending on the mood I’m in. But if you visit by my studio today, there’s a good chance you’d hear The Curse by Agnes Obel playing. I often choose music based on the tone or emotion of the piece I’m working on, I believe the genre and atmosphere of the music can really shape the creative direction of an artwork. It’s like the soundtrack to my process.
At the end of the day, my art is a reflection of everything I absorb, from the music I listen to, the artists I admire, to the emotions I try to channel through every line and texture. I’m grateful for the creative journey so far, and even more excited for what’s ahead. If my work resonates with others or even inspires someone the way these artists have inspired me, then I know I’m on the right path.
And of course, thank you to Vault Editions for the opportunity to share my thoughts and my work through this feature, it truly means a lot.
Interested in Learning More? Follow Syadat / Blasphemy Ink on Instagram, and check out more of his work on Behance!
Hades by Syadat Baihaqi / Blasphemy Ink Studio
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