Fear is the Mind Killer! - Dune Poster at Patreon

Recently completed and newly added to my Patreon feed, here's my tribute to Frank Herbert's "Dune" series of novels.  I can't believe it took me this long to get around to reading these books, but now that I have, I finally recognize what great works they are.  The first novel deserves its place as a masterpiece of science fiction, and the following novels are, for me, the kind of world building I like to see around a story of such scale.  This is the kind of approach that films such as Star Wars and Star Trek (and to a lesser degree the Marvel Cinematic Universe) have the potential to develop.

Core to the Dune series, and for me an important theme of the first novel, is the idea of overcoming fear through an effort of self-determination, as represented by the Bene Gesserit creed.  It was that idea that inspired this piece, a strong visual image of a single person against the vastness of the desert.  It is, I think, a subtle depiction of the kind of heroism I find echoed by many of my favorite authors - Robert Heinlein, Isaac Asimov, Ayn Rand, and now Frank Herbert.

As this is not an officially licensed work, I cannot make it commercially available, but a limited selection of prints will be available to my Patreon supporters.  You can find the link in the sidebar.

Click the image to see it at a larger size.

I'm Patreon-izing this Establishment!

After much dithering on the idea, I've finally decided to open a Patreon account! 

For those not familiar with the service, it's a way to support your favorite creators by making repeating or one time donations and receiving rewards for doing so.  It's a great way to keep creators creating, and earn some fantastic art in return.  From where I stand, it's a win/win situation.

In my case, I've set up my account on a subscription basis, with several different levels of support.  The rewards differ based on the subscription amount, starting with access to the private Patreon feed, and going (so far) up to delivery of actual physical prints of new art.  There will be more levels to come, depending on response, but I want to see how the very basic levels do first.

Patreon also lets creators define goals that their supporters can help them reach.  Right now, I've only got one goal, and that's to give up my other side gigs to concentrate my studio time on producing work to share with my supporters.  I have goals in mind, but they will depend on if and when I reach that first goal.  That's really up to you.

The idea behind Patreon is that the creator has to really get out there and sell their work.  I'm not much of a huckster, but I'm going to give it my best shot and see what happens.  Please do me a favor and check out my Patreon page and see what's happening over there.  Even better if you could sign up and help support the artist, even if it's just a buck a month.  I promise to do my level best to make it worth your while....

Now Available: The Journals of Simon Pariah #2

Reposeted from the AIM Comics blog, because I can...

"The Journals of Simon Pariah" #2 is available today in print from Amazon and in digital form from DriveThru Comics!
This issue is set in Scotland in the early 17th Century, as Simon has an encounter with ancient forces in the person of a strange red-haired woman and the powers at her command.  Simon Pariah must stand in the teeth of the wind and face "The Hounds of the Forest"!

This story is one of the original stories run at the old Comic Genesis website, wrapped in a redrawn cover and slightly edited for this version, along with a bibliography (!) and several pages of sketches and notes from the development of the story.  
 It was partly inspired by the film "Braveheart" and the legend of William Wallace, and partly from a dream told to me by a friend of mine, who did double duty as the inspiration for the female lead in the story.
It's weird, it's fantastic and it's Simon Pariah all the way!  Check it out today!

 

New Work Published: Angelina and the Egg! by David and Faith Brzezinski

Well, sort of new work.  I took a back seat on this one, working mainly as the book's designer.  David Brzezinski wrote the story and his talented daughter, Faith Brzezinski, provided the illustrations.  I (along with some help from assistant art monkey Cameron) added a few photographic elements to help unify the pictures and words, chose the fonts and generally tweaked the layout of the thing.
From the book's description on Amazon:

"Angelina is a dragon. There is a new egg in her house. A new egg means a new sister. Well, it should mean a new sister. What if it doesn't? What if the new egg isn't all it's cracked up to be?

I think the book will be a treat for younger readers, and I say that not just because of the role I had in it.  The intent of the design was to create the illusion that the pages of the book were actually created by the main character, and so the photos you see are actually photos from within that dragon's world.  Take a look at it and you'll see what I mean.  
The story itself is fun and entertaining, and will make a great bedtime or classroom story for any kid, but especially those who might have a sibling on the way.


 
 I've worked with David before and always enjoyed the experience and this time was no exception.  Check out the book for yourself, support a young artist, and be sure to let them know what you think!

Of a Wedding and a Return to Acrylics

Recently, I was commissioned to do an acrylic piece for my nephew's wedding.  I had done a piece for him when he was born, and this would make a nice companion piece.
This was a definite departure for me, in that the subject was worlds away from the fantasy/horror/comic and character design work I've been doing for the past few years, and more so because it's been at least a decade since I've done any actual painting.  My workflow has become almost entirely digital, and producing a finished product using more traditional materials was challenging and somewhat daunting.
Nevertheless, I invested in a good set of Liquitex paints and gave it my best shot.  The images that follow (shot rather poorly, I admit, with the camera on my Nexus 4; I'm an illustrator, not a photographer) are the results.

As always, we start with a sketch.  In this case, time was a consideration, so the sketch was done at the final size of 16 x 20 so that it could be worked up into a final line drawing and transferred to the board.

In thinking about this piece, I was inspired by the work of Amy Crehore, who seems to do some fantastic things with wood, so I decided to try working on a wood panel.  This turned out to be a good decision.  I tend to work my acrylics a LOT, and after a while, even the best illustration board gives up little bits of fibre that roll inseparably into the paint.  Meanwhile, canvas does not excite me, as I don't like the way the paint tends to settle into the valleys in the material; I like more control over my color.
At this point, able-bodied art assistant Cameron came in to apply several layers of gesso to the board to smooth out its surface.  After much priming and sanding, he also transferred the drawing to the board and did the underpainting (which I shamefacedly forgot to photograph).  I knew I was going to lean towards a blue-oriented palette for this painting, so I had the underpainting done in a dark green.  From there, I started laying down some paint. Here you can see the basic design and palette that I'll be carrying through the painting.

One of my problems with working in paint is that I tend to get bogged down in the details very quickly, and it takes me much longer than it should to finish a piece.  I knew I couldn't do that with this one, so I tried a different approach, drawing on lessons learned from my digital workflow.  Rather than start with my usual right to left, finishing an inch at a time method, I did the painting in layers, adding slightly more detail with each layer, working from back to front, with the intention of ending with the smallest details.

The mountain range turned out to be quite a challenge for me.  It was based largely on a tattoo design that had special significance, and I wanted to retain features of that design while adding more realism.  Working from dark to light, ending with white highlights and a sunrise on the left, I eventually achieved something close to what I was aiming for.

More details, with highlights added to the water and more features added to the plants.  The plant on the left is the dogwood of British Columbia, and the one on the right is the pitcher plant of Newfoundland, reflecting the bride and groom's heritage.

Another layer of detail brings out the features of the dogs and adds the fishing boats in the middle distance.  The boats represent the parents and grandparents of the couple, some of whom have passed on recently.

 

A lot more detail in this pass, bringing out the sunlight more and more features of the dogs. I should point out that at this stage, I'm mixing everything.  I don't use color straight from the tube often in painting, as unmixed colors tend to be overpowering.  Even the white of the dress sleeve has a small amount of blue mixed in.

In the final pass, I add final highlights with some unmixed white. And so on, until, finally, we're done, with about two days to spare.  My poor photography does not really do the colors justice.  I've always liked both the color and texture of Liquitex paints. My only complaint about this set was that the Burnt Umber had nearly no emulsion in it, and was just a tube of clay.  I had to improvise around it in the skin tones using sienna and pthalho orange.  

There's lots that I like about the final piece, but as always, there's lots I don't like as well.  I'm still not completely happy with the mountains, and the dog on the left ended up a little too large, amongst other things.  However, a hard deadline meant I did not have time to work this piece any more, so a splash of fixative and some wrapping and it's out the door.

The piece seems to have been well received, so I guess in the end it's all good.  The takeaway for me was that I kind of miss working in acrylic and should spend more time on it, as time allows.  Also, I really enjoyed working on a wood panel, and will definitely return to that.

Some final detail shots of the painting.  I took a bit of symbolist approach, so everything in it is meant to be in some way significant to the people involved.

As always, I'm happy to read or hear what you have to say about the work.  I've got no illusions about my talent in this area, so feel free to be critical in the comments, or in email, or by hitting me up on Facebook.

A is A, and I am I

I have a new print available in my Society 6 store, taken from Chapter 11 of Ayn Rand's novel "Anthem".  Anyone who knows me knows that I'm inordinately fond of Rand's philosophy, and a lot of it is summed up nicely in this short sample.  Now you can also proclaim your intellectual liberty with an eye-catching print, t-shirt, or what-have-you from the Society 6 store.  Take a look, and be sure to tell me what you think!

Brain Dead: A Work in Process

Recently, I was hired to create a poster for an upcoming tour by the thrash bands Brain Dead and Madrost.  I thought it would be fun for me, and possibly instructional for some, to show the steps I took to making the final image for what turned out to be a kickass piece of work.  Enjoy.

Preparatory notes:  I have a little bit of history with Brain Dead, having designed the art for their demo CD and their first studio album, and had created a mascot of sorts for them that they wanted to use on the poster.  I had no direct contact with Madrost for this project, but they had a mascot of their own that needed to share prominent space on the poster.  The notes I was given for the poster indicated that they wanted something that showed the two main figures doing violent things to the audience at a thrash metal concert.  From that, I got the idea that they would be brutalizing the crowd, but that the crowd was loving it, kind of the way a good metal concert will tear up your eardrums (at the least!), but is more enjoyable the more it does so.  The band liked the idea, so off to the drawing board I went!

At this stage, I really just wanted to nail down the concept and composition of the piece and make sure the major elements got enough room.  I was also asked to leave some room at top and bottom for text placement, so I avoided putting any important details in those areas.
Just for a personal touch, I looked up some photos of the members of Brain Dead and sketched them into the drawing.  I may have hidden a small self-portrait in there as well, but I ain't telling!

As I've mentioned here before, most of my ink work these days is done on a tablet PC.  I met cartoonist Mark Oakley a few years ago and he let me play with his Toshiba Portege, and I've been a tablet convert ever since.  I'm currently working on a Fujitsu Lifebook T5010, and it's the best art tool I've ever bought.  If there ever comes a day I can't get a tablet PC with pressure sensitive pen input, I think I'll be lost.
For this, I scanned the pencils in pieces using a nifty little hand scanner I found a while ago, and stiched the whole thing together.  Then I opened the piece in Sketchbook Pro and a couple of my favorite custom brushes to ink the piece.
When I'm working on a project like this, I'm always aware of where my influences are coming from, and they're always coming from somewhere.  Working on a piece like this, the work of Derek Riggs on Iron Maiden's album covers can't help coming to mind, but I was also aware of bringing in a little influence from such odd characters as Drew Friedman and Robert Crumb.  That's the kind of odd paths my mind takes at times.  Plus, if you'll take a close look at those clouds in the background, you'll see I've been toying with the style of Nico De Lort a little; his work has just been blowing me away lately.
Clearly, I tightened things up a lot here, and I must confess to one little cheat:  the buildings on either side in the background were photographs that were corrected for perspective, then converted to black and white using the Threshold tool and Gaussian Blur filter in Photoshop.  It saved me some time and gave me the raw kind of look I wanted for those areas.

Here, the color work begins.  For this I switch over to Photoshop, and follow a very comic book style process.  My first task here is to do flat colors for the whole piece.  This lets me get the overall color scheme in place and figure out where I need to balance or adjust colors.
I knew that the bands were going to want to add some text at the bottom, so I made the crowd nearly monochrome to create a good contrasting background for anything they might drop in there.  You can see that I'm leaning towards primary colors here to give the final image more impact, with just enough variation to allow me to establish depth and make the central figures pop.

Next, I add another layer set to multiply and brush in some shadows using a bluish shade of grey.  I realize a lot of colorists use channels for this sort of thing, as using layers increases file size significantly, but I'm more comfortable using layers, and my PC has plenty of RAM, so if it ain't broke, don't fix it, right?
Somewhere in there, I added the "Brain Dead" logo (also my design) to the band mascot's hat.  In earlier images, the hat says "Thrash", but we've changed it for this version for a bit of brand recognition.
Now we finally start to get some depth to the figures, even the monochrome ones, and this thing is starting to come together.

On top of that, I add yet another layer set to Lighten, and add some highlights.  Using the extra layer like this lets me adjust the intensity of the highlights much easier than if I were to paint them right onto the flat color.
Now this thing's getting much more life, and getting much closer to done.  Time for a few special effects.

For this (nearly) final stage, I added three special effects, one of which is very subtle.  First, the glow from the stage lights was created using the lasso tool and a gradient fill on a layer set to Screen mode.  Then, I selected the area around the trailing edge of the discs the robot creature is throwing, did a "Copy/Merged" in Photoshop, pasted the copied area as a new layer and ran a Motion Blur filter on the layer to add a slight sense of motion to the discs. 
Finally, I pulled a little trick that's sort of the artistic equivalent of backwards masking in music.  I found a large, good quality scan of Bruegel's "The Triumph of Death" and pasted it over the background layers (everything except the figures).  This is very subtle, but it lends a little bit of texture to the background plus it lends a little symbolist depth to the whole piece.  It's probably difficult to see at all in the online version.  If you happen to see a good print of this, look in the lighted areas of the background, especially right around the spotlights, and you'll catch a bit of it.  This is not the first time I've used this technique, but in prior attempts it was a little more obvious.

As I did not have to add the text areas myself, I guess we're done now, right?  Wrong.
Since this was going to be printed up for offline distribution, I wanted to be sure the colors would register properly and that the printed product would look good, so I had a test print done locally before sending it off.  In so doing, I found out that the Brain Dead character was turning out WAY too pink, and that the red tones overall were just way off.  So, I took it back to Photoshop for some color adjustments and tried it again.

 NOW we're done!  This final version doesn't come across quite as vibrant online, but it prints a whole lot better.  This is the one that shipped off to the band to add the final text to promote their tour.

And here's the poster with all the added text.  If you're in L.A., keep an eye out for this thing around town, and be sure to check out Brain Dead and Madrost when they roll through in May!

Happy 2015! What's Next?

Happy New Year to anyone still checking in here.  I will not address the lack of posts on this blog; it's all been due to an influx of work in the past few months that has prevented me from doing extraneous things like blog posts.  I consider that a good thing.
Unfortunately, most of it has been work that I cannot post here for one reason or another, and it doesn't look like that's going to change any time soon.

What will be changing is the simple fact that, for the foreseeable future, I will not producing any more work for free.  That too is a good thing.  I had read a couple of articles about this in 2014, but had not really had the courage to act on it as I believed the myth about doing work "for exposure".  I have produced a fair amount of work on that basis, but the exposure, so far, has been sorely lacking.  For now, I've got enough paying work either in progress, lined up, or on the way, that it would be counterproductive for me to try to squeeze in any free work on top of my schedule.  Financially, I cannot take time away from paid projects to work for nothing. Plus, I really need to take some time to focus on my personal projects like the books over at AIM Comics and the illustrated edition of "Supernatural Horror in Literature' that I want to produce.

So, for the time being, you won't be seeing any new work for (for example) Drabblecast, Lovecraft EZine or Sky Pirates of Valendor.  Especially that last one, but we won't get into that.  If any of my former free customers want to offer even token payment for work, I will try to fit them into my schedule, but doing work for free is really getting me nowhere, so it's got to stop.

I'm hoping to have more work to share here soon, starting with a kickass new poster I'm designing for the group Brain Dead.  I'm really kicking out the jams for this one, and looking forward to showing it off.  I'll also have a new issue of "The Journals of Simon Pariah" out soon, and will see if I can find a way to share some of the other work I've produced recently.

Here's to a happy and profitable 2015!

Check out this handy flowchart from http://shouldiworkforfree.com/! Ironically, it was produced for free!

High Society!

Inspired by some other artists I know, I've recently opened a store on Society6, where you can buy prints and products featuring my art.  For now, it's mostly another source for the same products you can buy through my DeviantArt store, although I am going to be making an effort to upload a new image each week for a while.  Keep an eye on it; you might find something you like!

New Work Published: Lovecraft EZine Issue # 32

Available online right now is issue 32 of the Lovecraft EZine, featuring one badass cover by Lee Copeland.   This issue also has a piece of work I created for the story "King Kane", by John Howard. 

It's a perfect blending of two of my favorite icons, Lovecraft and Citizen Kane.  As such it was as much fun to read as it was to illustrate.  Head on over and check it out.

Meantime, here's my illustration for "The Yellow Sign" by Robert Chambers from issue 30 of the EZine.  The plan is to make this one of a few dozen pieces for an illustrated version of H.P. Lovecraft's "Supernatural Horror in Literature" to be published under the AIM Comics imprint...eventually.

New Work Published: Drabblecast # 335 - To Whatever

Hooray!  It's Lovecraft month over at the Drabblecast.  All things squamous and cthonic will be celebrated throughout the month of August, with some decidedly great fiction coming down the line.
This week's offering is "To Whatever" by Shaenon Garrity, featuring an episode cover by yours truly.  This one's a lighter sort of creeping doom, paying homage to stories such as Rats in the Walls and Dreams in the Witch House.  Give it a listen.
By the way, if you get Drabblecast in a mobile podcatcher, you should know that the art, frankly, looks terrible.  Seems I didn't plan well enough for the scaling necessary for small screens.  I strongly recommend you take a look at the full-sized version, as there's a couple of nice Lovecraftian in-jokes there.

Christmas in July Sale

Did you know that for a limited time you can buy AIM Comics's publications at DriveThru Comics for 25% off during their Christmas in July Sale?

Well you can, so get over there and grab some deals before the "season" ends!

Lessons Learned in Self-Promotion: Manage Your Expectations and Know Your Audience

Reporting live from the convention floor!

This past Saturday, I attended the second annual East Coast Comic Expo in Moncton, NB.  This ought to be a post telling all about what a wonderful time I had there.  It ought to be, but it isn't. 

Now let me say right off that none of what follows is the event's fault.  In fact, I would say that as far as comic conventions go, this one appears to have been very well handled.  It was well organized, and all the necessary information was communicated clearly and in a timely fashion.  Costs were minimal, and we were given plenty of space in a clean, well-maintaned facility.  Attendance numbers appear to have been around what was promised, and there was an excellent variety of work on display, with representation from artists both known and unknown.  People seemed to generally be having a good time, and that's kind of the point of the thing.

However, my own experience was different, and I think I have only myself to blame. 

I put a lot of work into prepping for this show.  A LOT of work.  I had a selection of prints, both large and small, available for sale at the table.  I had a special sketch cover edition book printed just for this event.  I also had two sets of limited edition prints that were "semi-originals", meaning that I'd printed just the color layer of each one and inked each print individually, making each copy a unique work of art.  Like I said, a lot of work.  Perhaps too much.
Having put in that much work, it raised my expectations somewhat.  I had actually expected to make some money from this event.  I know that for someone like me, the main purpose of an event like this should be self-promotion, taking the opportunity to meet potential fans and introduce them to my work.  And that's how it's been for me at past events. 
This time, though, I figured that I had enough work of sufficient quality that there was no way it would not sell, and I would be guaranteed to walk away from the day in the black.
That's not quite how it worked.  Granted, a lot of people came by the table, looked over the artwork and had some very nice things to say about it.  A few people even bought things, making sure that I wasn't going to go home empty-handed.  By and large, however, there was more looking than buying.
I still don't think quality was the issue.  I am convinced that the work was and is good, and I'm sure it will do well in the right context, if I can find it.  If I was a more bitter man than I am, I might even say that it was the crowd's fault, for not recognizing the quality of work I put in front of them.  I don't think that's the case either.

I think my problems were two-fold.  First, I set my expectations too high.  At any other event, I might have been happy to take away as much money as I did, given the number of connections I made throughout the day.  I would (and should!) have weighed the value of the day in the great conversations I had with other artists and fans.  By seeing the attendees as customers, it changed my approach to the whole event, and set me up for disappointment, thereby removing some of the pleasure I should have taken in the day.
Second, I don't think the work I had available was right for this crowd.  The prints I had available were more illustrative than comic based, with a definite tendency towards Lovecraftian and pulp fiction inspired content.  The fans in attendance were more interested in superhero and branded content such as  Doctor Who, Pokemon and the like.  In short, my work just didn't fit. I failed to accurately gauge the interests of the crowd I would be approaching and as a result, the work just didn't take off like I'd hoped.

So I think the takeaway from this event is, be prepared to play to your crowd, but don't expect too much from them.  Concentrate more on building relationships, and less on making the sale.  Engage, and after engaging, adapt according to what you've learned.  Most importantly, relax, have fun and enjoy the day.

All that being said, there were some definite highlights to the day.  I met a promising young artist whose webcomics work I will be looking forward to.  I got a chance to speak with Kate Leth, whose work I have found inspirational lately.  I got the chance to catch up with Sandy Carruthers, currently doing work on a Charlton revival.  And for the first time, I got to share a table with one of my kids, who was also presenting work in the form of postcards, buttons and custom Gallifreyan (it's a Doctor Who thing) sketch cards, and who seems to have gotten a very positive response.

So, there was a lot of good to the day, and thanks to the ECCE organizers for putting off such a good event.  If I decide to do another one of these, I think I will put in less work...but come better prepared.

New Work Published - Lovecraft EZine # 30 - The King in Yellow Issue!

In the wake of the beautifully nihilistic TV series "True Detective", there seems to have been a renewed interest in Robert W. Chambers "The King in Yellow" and Ambrose Bierce's "An Inhabitant of Carcosa", and deservedly so.  As predecessors in weird fiction to internet darling H.P. Lovecraft, their work is deserving of much more attention, and this month, the Lovecraft EZine looks to deliver that.

To be fair, Mike Davis and his EZine were there first.  They waded deep in the swamps of weird fiction long before Mssrs. Harrelson and McConaughey ever set their toes in the water, so that dedicating an issue to "The King in Yellow" is just a natural progression for the magazine.  In the tradition of so many great past issues, they present issue # 30 - The King in Yellow Tribute Issue.

I'm always pleased to be able to contribute something to an issue of this magazine, but this time I'm proud to say that I get to tackle one of the grandmasters himself.  This issue features my illustration for the iconic tale "The Yellow Sign" by Robert W. Chambers.  This month's contribution is a creepy black and white piece depicting the disturbing watchman from Chambers's story, with a few interesting design touches.  Astute observers may be able to pick out several uses of the seal of Hastur (the "yellow sign") incorporated into the piece.
I'm also excited to be able to say that this month's illustration is the first of many to come for a planned illustrated edition of H.P. Lovecraft's "Supernatural Horror in Fiction" that I hope to release under the AIM Comics imprint within the next year (i.e. as soon as I can get the illustrations done).  I have been planning for some time to do illustrated versions of public domain works, and I can think of no better starting point than Lovecraft's essential essay on the history of horror fiction.

While you're waiting on that, go now and read Lovecraft EZine issue 30.  It's free to read online, but can be purchased in mobile and print editions.

But watch out for that yellow sign.

Oh..and meantime, here's my illustration from issue #29 for Eric Ian Steele's "The Groaner in the Glen".

The Paladin Freelance Etsy Store is Open!

Here's the deal...I have a large comic collection, about 2000-3000 books.  I've sold off a fair number of them in recent years, but these holdouts haven't sold for one reason or another, mainly because they don't all feature Batman, Superman or Wolverine. 
I've been wanting to do something creative for some time to get these books out my door (aside from putting them in my Halloween give-away box, which I do the tune of about 100 books a year).  I've also always enjoyed doing my own drawings of the characters in these books.  So, I hit on the idea to combine the two interests, in what I'm tentatively calling "Comic + Art" via Etsy. 
Through my storefront, I'm offering original drawings of comic book characters combined with the issue from my comic collection that inspired the drawing.  Most of the drawings will be done on 8 1/2 x 11 110 lb. cardstock, rendered in India Ink with marker grey tones.  Each is selling (for now) for $10 plus shipping, and all orders will be mailed flat and polybagged. 
It's a chance to own an original drawing of some of your favorite comic book characters, and maybe fill in some gaps in your own collection at the same time, or at the very least get some good reading material. 
I have a wide variety of books left in my collection, and will be adding a lot of different character drawings to the store as time goes on.  Drop by often and see what's new, and maybe snag a drawing or two.
Hope to see you there!

New Print Available: Making the Cut!

For anyone who's interested, my art for the cover of "Making the Cut" from Lovecraft EZine is now available as a print and on several other products via my DeviantArt page.  Go check it out, won't you?

New Work Published: Making the Cut

Out right this very minute is "Making the Cut", the latest collection of tales from publisher Mike Davis, editor of Lovecraft EZine.  This collection features nine stories from the magazine given "Honorable Mention" by Ellen Datlow in "The Best Horror of the Year Volume 5", so you know it's going to be good. 

The cover, a brilliant bit of design by Leslie Harker, features an original piece of art I created to this volume.  This piece was inspired by the W.H. Pugmire story contained in this book, and was my first finished piece done entirely in Corel Painter. 

Be sure and check it out.  I'd love to hear what anyone thinks of the cover, and I'm sure Mike Davis would love to hear your opinion of the book.

New Print Available: Cthulhu!

Now available on my DeviantArt story is my interpretation and portrait of Great Cthulhu himself.  Reworked slightly from its earlier versions used by the Lovecraft eZine, I will be selling copies of this print at East Coast Comics Expo in May.  If you don't want to wait, you can get Lovecraft's baddie in all his squiddy goodness in a variety of sizes and formats through my DeviantArt page.

Grab one now and maybe...just maybe....Cthulhu will devour your soul last*.  No promises. 

*Offer not valid in R'lyeh or affiliated Dreamlands.  Offer not open to cultists, wizards or any member of the Whateley family.  Artist assumes no responsibility for the disposition of your eternal soul, the likelihood of being devoured by squid-headed bat-dragons from beneath the ocean, or night-gaunts.  If after purchasing, you find that sleeping abnormalities wake to resurgent life, and blasphemously surviving nightmares squirm and splash out of their black lairs to newer and wider conquests, consult a doctor.  For all the good it will do.

New Work Published: Lovecraft EZine # 29

Up now, you can read issue #29 of the the ever worthwhile Lovecraft EZine. This issue, as always, features some great Lovecraftian fiction, as well as a nonfiction article by the worldly and wise scholar Robert M. Price, all wrapped up in an incredible cover by Lee Copeland. 

For this outing, I have illustrated "The Groaner in the Glen", a piece of historical Mythos fiction by Eric Ian Steele, concerning a possible of fate of a lost Roman legion.  For this one, I tried to evoke some of the style of the Roman era mosaics I remember seeing during a visit to Germany a few years back.  This was also an opportunity to try out Corel Painter, to which I am newly arrived.  You will shortly (I hope) be seeing work from a couple more projects I have created using that program.

For now, go read "The Groaner in the Glen" and the other amusing, entertaining and edifying pieces that make up the latest issue of Lovecraft EZine.  While you're there, be aware that the magazine is now available in a print edition, guaranteed to look great in your library.

Meanwhile, here's my "portrait" of Willem H. Pugmire from issue #28, the Pugmire tribute issue.  It's a composite of an old photo of WHP from an issue of Famous Monsters and a photo of HPL himself, amongst other things.  Just a little bit of creepy, staring madness to send you on your way...