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Unfortunately, this is the final issue for Realms of Fantasy... I'm sorry to see them go. They've been a great asset and support to the fantasy industry. Back in February 2001, they published me in their Artists' Gallery, and I was honored to be featured again.
Although, sadly, this final December 2010 issue didn't make it into print, it's worth viewing. You can download the entire magazine, or simply read my feature online by clicking each image below for enlargement.
Every now and again I get assigned a Magic card that gives me enough creative freedom that I'm able to embed a lot of "me" into the piece. "Silverskin Armor" is one of those. What makes a piece "me"? I'm not entirely sure, but I am aware of what elements keep seeping out of me whenever they get the opportunity.
Probably my first love is painting beautiful, captivating people. However, I also like the image to feel like there's more going on than just that. Usually, that includes experimenting with variations in textures and color. For me, trying out new techniques is the playful, fun part of art that I still find exciting. There's also something about things that look old and authentic that forever intrigue me. I enjoy layering scientific, arcane and diagramatic elements into a painting. If you're familiar with my work at all, I'm sure you've noticed gold and irridecent mediums are frequently incorporated in the art. To me, it gives the original paintings an opulent, rich feel. Or, I may just be part crow. You know, "shiny" things.
Now that I've shared some of the components that make me "tick" as an artist, as your eyes move through "Silverskin Armor" you will be able to spot how I've integrated those elements into this painting. Below is the original art description I was given to create the art for the card:
TITLE: [Fleshfoil]
ART DESCRIPTION:
Color: None (artifact)
Location: your choice
Action: We see a female blue-aligned human (neurok) in the process of "installing" her magical armor. The armor consists of form-fitting chrome pieces that extend tendrils of metal into her flesh that connect with her bones (bloodlessly).
Focus: the chrome armor with its endoskeletal anchor points
Mood: Let those filthy Phyrexian try to pry *this* off me.
It wasn't especially clear "how" this armor adhears itself to the human, so I was inspired by the specialized cells in various underwater creatures, the critters that sting and paralyze. They contain barbed, threadlike tubes which look wicked when magnified. It seemed like an approach this armor could use to burrow into ones flesh.
This is the sketch I came up with, which was then emailed to the art director for approval. The sketch is 10.75 x 7" graphite on parchment tracing paper.
To complete the original art, I printed the sketch out on Epson Fine Art Velvet paper. I soak that print-out in water (wet stretch process) and mount it on a board. I then start layering in washes of acrylic until all of the white of my paper is covered with a general color direction. The next thing I do is start adjusting the values by adding in darks, sometimes with paint, sometimes glazes of airbrush. I also begin playing with adding textural varieties.
Through experimenting, I've found that after I lay down a watery wash of acrylic color, (dribbles and splatters) if I then spray Crystal Clear into that wet mix, it beads and repels in an interesting way that creates sort of a marbled look that is a fun base to work into. The gold and silver areas include varigated gold/silver leaf as well as embossing powders. I use various pens and ink to draw in the diagramatic areas. To continue rendering the piece, I build up areas with oil and acrylic until I feel like the colors, values, textures, composition and movement of ones eye through the piece works as a whole. Sometimes the "deadline" comes before all of those things are accomplished to my liking, but that is what I strive for.
The original art is painted on Epson Velvet Fine Art paper with acrylic, oil, ink, gold/silver leaf and embossing powders. The image area is 9.75 x 7".
I'm getting a lot of print requests for this piece already. I have two sizes available:
I've been seeing Johnny Depp's face everywhere because of his latest movie "The Tourist", and was reminded of what a great "look" he has, and how fun it would be to paint him. Captain Jack Sparrow was a character I enjoyed immensly, so here his is, featured here on a Force of Will. His spoils include the Mox Pearl, Mox Jet, Mox Emerald, Mox Ruby and Mox Sapphire.
Of course the original Mox's were originally illustrated by artist Dan Frazier. If you haven't visited his site please go check it out here.
To create this alteration, I used acrylics, inks, airbrush and touches of oil. Oh, and now and again I'd pull out the magnifying lamp for those hard to see areas. : )
If you'd like this one-of-a-kind card, it's on Ebay for the next few days.
Learn more about EXTREME ALTERATIONS
Three years into my career, I was asked to create an image for the Topps Vampirella Gallery card set. Aside from the basic proportion of the card, I was given complete artistic freedom as to how I could illustrate her. For inspiration before starting a piece, I usually gravitate to my ever expanding wall of books. The artists and illustrators of the late 1800's and early 1900's have been, and still are, my greatest influences. J.W. Waterhouse is among my favorites and this painting was an homage to him.
This scene features Vampirella on her home planet Draculon. Draculon is a world with twin suns, where rivers are filled with blood, thus, the liquid they drink. I wanted to imbue Vampirella with a strong, elegant and sensual quality. I've never been a fan of women portrayed in bimbo-esque poses. My style
and interests lean toward a decorative, ethereal technique. I enjoy visually flowing through an image, allowing the textures and symbols to reveal themselves as ones eyes move through the piece. The medium I used was oil on Strathmore paper with subtle touches of gold leaf.
Up until now, this limited edition print has only been available at convention signings. I rarely bring them to conventions anymore, but still have a number of them left. So, I'm adding this print here for the Vampirella and vampire fans that would still like the opportunity to add this piece to their collection.
This archival print is an edition of 250 on 13x19" watercolor paper. Each one is signed and numbered in gold and carefully packaged in a sturdy shipping tube.
Back in 1999 Wizards of the Coast offered a promotion to encourage people to teach their friends to play Magic called, "The Guru program". The five lands shown here were included in this program as giveaways. These illustrations depict the phases of a double eclipse transitioning through each of the land cards, beginning with the plains and ending with the swamp. These are some of the most unique and expensive lands available.
When I was commissioned to illustrate this set, I was given a great deal of flexibility as to how I could portray them. The art director basically said, "Just do something that looks cool". For inspiration, I looked at old style medical illustrations, scientific diagrams and ancient maps. I painted each image with acrylic and hints of colored pencil, airbrush and gold leaf.
You can see the details of these transitions within this set of 5 prints. They have continued to be best sellers throughout the years. We're offering a signed set of 5 for $49.95. Each 8.5 x 11" image is printed on archival matte paper and signed in gold. Buy Now!
Do you have a handful of favorite cards that you would absolutely LOVE to have embellished with Terese's signature? You don't HAVE to go to an event and stand in long lines to have it done. She's more than happy to sign cards for all of her fans!
