..... and Why I'm a Better Choice

Reason 1 --- Tailored to your Needs

My main style is realism. But because I work digitally, I can make my realistic illustrations look painted, even sketched,
so it fits the feel of the format in which it'll be used.


As detailed as it gets

I work mostly in straight digital
because I can get the best detail.

Oil Paint

Only focuses on the things you want

...But sometimes people prefer a more traditional, painterly style that blurs out the less important detail so the focus stays on the more important features 

Grey/Monotone Paint

Great for interior illustrations

Interior illustrations are often done in greyscale to save on ink costs, and in those cases this painted black and white style
is preferred.

Pencil Sketch

For Spot Illustrations

For spot illustrations that you want to blend into the white pages, pencil sketch style is best.

Reason 2 --- No Hassle Adjustments

Because my years of experience in this field has made me aware that my client has specific needs, and that those needs are not always able to be clearly presented, I've delevoped a workflow that allows me to change any aspect of my illustrations much more quickly than traditional illustrators, by working in sections and updating my client often, so fine-tuning can be made on the fly, and the image can be as close as possible to what my client initially visualized.

.For example, below was a recent commission where we played around with the composition, color and even some props
.We moved the moon around, added and removed the scythe, played with different color schemes You couldn't ask for these kinds of changes if you were working with a traditional painter. Yet if you look above, I can make all these changes, and apply paint filters to them also - giving you the best of both worlds  

Reason 3 --- Experience

I've been illustrating in the Sci-Fi/Fantasy/Horror fields since 1995.
My first published illustration was when I won the 1995 L. Ron Hubbard Illustrators of the Future Gold Award, where I spent the weekend with masters like Ron and Val Lindahn and Frank Kelly Freas.

One of my earliest published commissions was in Tempera Paint and Color Pencil
- way before I worked in digital -
when I did the cover for the Sept '98 issue of Analog Science Fiction and Fact. 

Since then I've done a lot of illustrations for self publishing authors
Working online, and with self published authors, I have plenty of experience with CreateSpace and similar publishing websites.
Here's a recent example of how I overlay their template to create an illustration that flows across the entire book cover, front, spine and back. 

I get work from all over the world, and personally, I don't know where half of these folks hear about me. Above was a mockup I did for a brewing company in New Zealand. I just finished a cover for a bloke in the UK. I do children's books for a website in Canada. I rarely work with anyone locally, and neither should you. Why limit yourself to local talent when the best is out there in the world.

Reason 4 -- Commitment

I'm not a kid, not just starting out, and I take my work seriously. 
I'm more interested in turning out a good product than a quick buck.
I've been in the Sci-F-/Fantasy world for half a century and I keep up to date with the latest technology.
Most folks hire me because they want to use the art to make money - to make their living.
I believe the more money you make, the more I make, and that your business is, in part, my business.
That's why I'm committed to giving you the best images you can get.


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