General audiencesThis material is suitable for all ages and temperaments.
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Illustrations
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Maggie Hogarth volunteered me to help illustrate a role-playing game rulebook, possibly to encourage taking on more projects for publication. After initial uncertainty and noting a dearth of combat-oriented art from other artists, it was an easy decision to create small illustrations harking to Osprey Publishing’s “Men at Arms” series of books. After the first three, things shook down well enough that the authors felt comfortable requesting specific scenes. Originally published as illustrations in World Tree, written by Bard Bloom and Victoria Borah-Bloom. Artwork appears here as a courtesy to the artist.
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This was the first major piece completed using Photoshop. Background shading and textures were “painted” onto the scanned ink drawing. Originally published in Anthrolations issue two as gatepiece for Kim Liu’s short story “The Crucible”.
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Unfortunately, a publication error meant this piece didn’t appear on its assigned page, leaving only a blank spot. Originally published in Yarf! issue fifty-eight as illustration for M. C. A. Hogarth’s short story “Rosettes and Ribbons”.
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Amazingly, this took only three or four hours to finish, which was fortunate, because it was solicited two weeks before the printing deadline! Originally published in a promotional calendar for Associated Student Bodies. Alex created by Lance Rund and Chris McKinley and used with permission.
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This wrap-around cover illustrates the climax of the story arc chronicling Alysha Forrest’s struggle to balance two lives: by day a Fleet cadet, by night an exotic dancer and unwilling prostitute. The issue on which it appeared was my last as art director. Originally published in Yarf! issue fifty-five as front and back covers in reference to M. C. A. Hogarth’s short story “Steel”.
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Alysha emerges from a block of marble, a statue coming to life, and reaches toward the stars for which she yearns; the upper part of her Fleet uniform dissolves into exotic-dance costumery, in turn disintegrating and leaving her lower body nude. This piece is more symbolic and less representational than usual. Originally published in Yarf! issue fifty-three as illustration for M. C. A. Hogarth’s short story “Blood Money”.
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This was based on a rough sketch drawn by the author. Originally published in Yarf! issue fifty-two as illustration for M. C. A. Hogarth’s short story “A Cold and Gentle Dark”.
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The gatepiece was rushed for what was supposed to be a tight deadline, and suffered somewhat; still, it and the interior illos pleased the author. The flags are shown with heraldic hatching—horizontal lines for blue, vertical lines for red, and so on. Artistic license was needed to show the flags clearly, since the story describes them as flying from the same staff. Originally published in Yarf! issue fifty as illustrations for M. C. A. Hogarth’s short story “Two Uniforms”; gatepiece subsequently published as part of the short novel Alysha’s Fall.
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Sierra Barona-Delosi torments her twin brother Arich . . . as usual. Originally published as part of an advertisement for Empires T-shirts. Characters created by Chris Grant and used with permission.
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This and a couple of other pieces taught the lesson that not all collaborations mesh well, even if all the artists involved are talented and capable. Originally published in handicapped-access booklet for 1991 San Diego Comic-Con. Artwork inked by Terrie Smith.
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Sketchbooks & Commissions
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The sketchbook’s theme was “firsts”. Drawn at Further Confusion 2004.
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The characters and scene were indirectly inspired by discussions with Maggie Hogarth. Originally published in benefit portfolio to raise funds for Christina “Smudge” Hanson’s medical bills.
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This character was created for on-line superbeing role-playing. He spent a lot of his time hiding in the city sewer system. Character created by Paul Floriani and used with permission.
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The theme of the sketchbook was “Skunks, Skunks, Skunks”. Since virtually every piece was a pin-up, male or female, the urge to do something different was irresistable. Drawn in Brian Harp’s sketchbook. Carrie Prim created by Waverly Pierre III and used with permission; children co-created with Waverly Pierre III.
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Yes, the kids are too cute—and exhibit what a friend calls “Disney genetics”: everyone has one giant chromosome and everything is sex-linked, so boys look like Dad and girls look like Mom. They are, of course, doing typical kid things at the picnic—grooming, talking to Daddy, or teasing a sibling. Drawn in Waverly Pierre’s sketchpad. Carrie Prim created by Waverly Pierre III and used with permission; children co-created with Waverly Pierre III.
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After fourteen years away from skis, the knees were out of shape and rude snowboarders were a nasty surprise. The off-season conditions were miserable, too. Drawn in Melody Rondeau’s sketchbook.
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This character was created for the old West End Star Wars role-playing game. She was based, of course, on the “kid” template and had a droid sidekick. Character created by Geoff Somers and used with permission.
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A young student from the Institute for the Rehabilitation of Constructs—established to socialize the illegally bioengineered Double Helixers—strays onto the still-active portion of the US Marine Corps base at Camp Pendleton. Drawn in someone’s big black sketchbook.
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