Terese Nielsen - Fantasy Artist, Star Wars, MtG and Angel Art

Enter the Infinite

Whenever a new "art assignment" for Magic the Gathering appears in my inbox (or in the old days, my fax) I immediately stop whatever I'm doing and read it. I can't stand the suspense, and need to know immediately what I get to illustrate for the next set. Throughout almost two decades (18 years to be exact) of illustrating for MtG, there has only been a few occasions, in which I get to the end of the description and say, "SERIOUSLY…?!!" "Are you kidding me?!" "I'm an artist not a miracle worker!!" It was one, or maybe all three of these phrases which adhered to my frozen, wide-eyed stare. Please, go ahead and read it and tell me what you think.

Title: [Enter the Infinite]

ART DESCRIPTION:

 
Color: Blue spell (unguilded)
Location: Unimportant
Action: Show a close up of a face that has just received all the knowledge in the universe. The expression is that of seeing the immensity of the infinite that both awes and terrifies. It is agony and ecstasy at the same time. At the edges, the face is beginning to fracture into geometric pieces, and the further out from the face that we go, the pieces are turning into all manner of birds, beasts and creatures that wriggle and crawl, flowers, trees, vines and symbolic script. The pieces are spaced more and more apart the further they are from the face as if the face is exploding apart revealing the infinite void.
Focus: The fracturing face.
Mood: Identity dissolved in infinite knowledge.
Notes: Terese, this is a powerful card that lets you draw your entire deck... you can cast anything! Please make it appropriately impressive and dramatic!

No pressure, right? In general, I'm pretty quiet about my approach, especially with pieces like this. Because even to me, the process can sound a bit woo woo. But since many of you asked, I'll attempt to share. Feel free to roll your eyes at any point necessary.

 

Sometimes I'm given assignments in which I'm specifically told to handle the imagery in an abstract way--to stay away from realistic, straight forward approaches. For me, that means commence the weaving, layering and merging of elements in a diagrammatical, fluid, textural, and symbolic way... or something like that. When going this route with an illustration my intent is to inject the imagery with thoughts and symbols in an ethereal, esoteric way, creating a visual that I hope will reveal itself to viewers in their own personal ways.

Regardless of the art assignment, I always start by highlighting words and moods that are key in the description. This creates a visionary springboard and framework for designing the image. After reviewing the highlighted description, I nestle myself amidst my personal library, listening to which books whisper into my ear. Sometimes I'll follow that up with a bit of surfing around on the internets to see what else falls into my lap. I allow what I find in these places to simmer and percolate with the art description for a time, paying close attention to faint or bold nudges which drop in from the aethers. I would suppose this process is about as close as I get to meditation, only my eyes are open, a pencil is in my hand and an amorphous something, from some confluence of happenings, funnels through. 

Just for the record, I can't say that I've ever experienced, nor have I observed anyone, that has just received "all knowledge in the universe". I think the closest I've come to that is balancing my check book the first time through. In any case, if depicting someone receiving "all knowledge in the universe" is not complex enough, let's also tack onto that "awe and terror" and "agony and ecstasy" all into one expression. Right?!

  

So I decided early on in the process, since the face and expression had to do it's best to depict these incongruous and complex emotions, as well as convey being "a part of" the Universe while simultaneously "exploding apart"-- for this to be readable whatsoever, the face would need to be a major aspect of the painting, especially at the printed 2 x 1.5" MtG card-art size. 

I counted on the eyes in the painting to say a great deal; one eye (his right) looking awestruck and his left radiating a confident, all-knowing, spark of enlightenment. The face itself was an amalgam of idealized male features which I purposely forced into even more exaggerated geometric angles as they pushed their way out towards the left of the image. Woven behind, in front of and within the picture are 2D representations of patterns, sequences and phi ratios--proportions that permeate our physical and unseen worlds. I'm a complete novice at understanding these things. But lest you think I'm too far off the deep end, Leonardo has pages of sketchbooks depicting explorations around this, and he seemed to know a thing or two.

 

I felt "Enter the Infinite" needed to have a connection between the enlightened soul in his eyes with the flower of life blueprint--the essence of all organic life. I positioned the phi ratio wave to extend from his eyes to the right of the piece merging with the flower of life symbol. This provided a geometric backdrop in which to morph and entwine all the other elements.

 

I've been told many times that my work has a fluid, dance-like, lyrical quality to it. I believe movement and motion is what makes us feel alive. Obviously when we stop moving, and breathing, and growing, we're lifeless. So intuitively I sprinkle movement into the flow of my compositions, choreographing the dance of ones eyes along the pirouette of the lines. Almost anything can be elevated into a graceful line. This can be through the sweep of hair, fabric, blowing leaves, or arching waves.

From the book "The Unknown Leonardo" we learn of his appreciation and attention to twirling, graceful motion.

 

"Whirling movements of every kind fascinated Leonardo. He likened the eddies of whirlpools, which he called 'the cosmic breathing of the ocean', to the 'lake of blood extending through the human body'. He saw a parallel between water and hair. 'Observe the movement of the surface of water' he wrote, 'how it resembles hair, which has two movements, one of which comes from the weight of the hair the other from the curves of the curls. Thus water has its whirling curls, some of which follow the rush of the main current, while others have a movement of incidence and reflection'."

Some illustrations require numerous thumbnail compositions. However, for images such as: Enter the Infinite, Descendants' Path, Lifelink, Silvercoat Lion, Nature's Spiral, Call to Mind, Silverskin Armor, Legacy Weapon, Holy and Unholy Strength and other's in this vein, I find or shoot reference for the, one or two main elements. I then position those pleasingly into the rectangular, Magic card format, and then draw, design, and doodle away. Sometimes it requires a fair amount of erasing and massaging things around, until a fluid mosaic within the piece as a whole, is achieved. Compositionally, I think about the various elements much like the old school montage approach to designing a movie poster. Start with the largest focal point element and then design all else around that. 

For example:

Enter the Infinite: Start with the face and the two patterns, and morph all else into that.

Descendants Path: Begin with the girl and the tree and work all other aspects around that in a way that enhances and surrounds the subject.

Lifelink: Arrange the hot dude and various shifting angles of the lion head, and then work in all the other elements to "link" and unify the man and lion together. 

When choosing a color palette for Magic card art, if the card represents a certain mana color, then (as directed in the styleguide) we're asked to "Approach each illustration with its color in mind. Hue is a strong, direct way to reinforce the card's color". It doesn't mean it has to be overwhelmingly that color, but at least a major color component within the piece. In the case of "Enter the Infinite", blue was the color of the spell. I kept it within the blue to purple range, as one might expect to see in photos of the universe and galaxies.

Though the project was definitely daunting at inception, I very much enjoyed the process of working with the various elements, and it's always interesting to hear what players think when they see cards like this.  Would love to have your comments here, or over on my Facebook Page.

 

For limited edition prints of this image click on over to the store.

Click these links to purchase the original art or sketch.

 

"Hanna, Ship's Navigator" the Girl Next Door?

"Hanna, Ship's Navigator" (for MtG's Duels of the Planeswalkers 2013 first expansion) isn't the first time I've been asked to illustrate Hanna, but being asked to make her look appealing certainly was a first. In case you haven't been involved with Magic since the beginning, it might be revelatory to know that the style guides, back in the early days of Magic were, well... lets just say not as thick or nearly as highly developed as they are now.

 

Above was the version of Hanna, depicted in the style guide back then. At best she's, how shall I say, "the girl next door", and don't take me for a chauvinist, because I also thought Gerrard and Ertai were a wee bit, the "boy next door", until I had the opportunity to create my version of them. : )

 

When I painted Fact or Fiction and Jilt, I was asked to make her "normal" looking, which I loathe being asked to do. When an artist is told to paint a "normal" character it screams boring, lackluster, uninteresting, amateur (because clearly you must not be able to paint something pretty) or just emotionless.  

So, in honor of following the art direction, I used a very average model (myself) and didn't bother to idealize her. Of course I also required a photo of the basic pose and lighting for the goblin, so I grabbed who was closest, which was my partner Dawn. Fact...or fiction?   ; )

Jump forward 10 years from 2001 to 2011 and I'm asked to paint Hanna again, this time with the express wish from the art director "Can you please take this assignment? I want a T. Nielsen face lift of ‘Hanna’." How could I refuse? 

So this was the official art description I was given.

 

ART DESCRIPTION:

Title: Hanna, Ship’s Navigator

Color: White- and blue-aligned legendary creature

Location: Belowdecks aboard the wooden airship Weatherlight

Action: Show a glamour shot of Hanna, the talented artificer who went on to serve as navigator for the airship Weatherlight. Hanna wears her blond hair in a slightly disheveled ponytail and wears a uniform in blue and gold (see reference). Mystical artifacts (strange crystals, vials, puzzle-boxes) are strewn about the table, and she's looking up from a parchment map or blueprint, perhaps with a lock of hair falling across her face.

Focus: The artificer Hanna

Mood: A young, whip-smart artifact expert; grace under pressure

Notes: See Hanna's Custody, Fact or Fiction, Jilt, Protective Sphere, for Hanna's look and costuming reference (although we'd like her to look a little nicer/better here).

Great assignment right?!! A glamorized Hanna, in her lair, surrounded by all of these amazing old bottles, maps, puzzles, nautical instruments. Steampunk in Magic. If my studio lair looked like this I'd be in heaven... but I do have little corners of it going on here and there.

 

 



I knew I wanted her in a contemplative mood and pose. When I'm in my favorite reading corner or tucked behind my drawing table ruminating over my next project, you'll find me in this position.

 

So I gathered together little doodads I had laying around, some old photos of nautical devices from the internets and then grabbed a light and our daughter, Heather, to shoot for the basic pose and lighting.

After photos and reference gathering, I hunkered over and drew away until this appeared.

I was given the go-ahead on the sketch and immediately started painting. As the entire image was filled with interesting items, I enjoyed pretty much every square inch of this piece... love it when that happens.

Oh, and I guess there is still a bit of me, i.e. the girl next door, in this Hanna, as I needed the disheveled, iconic blond, Hanna-hair...and mine still worked for that.  : )

 

 Those interested in signed limited edition prints of this, just pop on over to the store.

 

 

 

TLC Workshop Assignment and Materials List

It's just a little over a week away, and I'm so excited to get to meet and work with all of you attending the workshop. It's going to be an awesome 3 days! If anyone is still interested, I think there is just one more space available. It's Fri-Sun, August 24-26. Pop on over to the TLC Workshops to register. 

If you're curious about some of the materials. The first day we'll be spending some time drawing with sepia and white charcoal pencils on toned paper. It's an especially effective way to focus ones attention on light and shadow, and how to handle the edges between the two. This creates the illusion of three-dimensional form and ultimately the models likeness. For examples and a short tutorial I created on that technique, visit the Muddy Colors blog.

 

WORKSHOP ASIGNMENT AND DETAILS

 

Idealized Realism and the Human Figure

 The assignment for this weekend is to portray an iconic, idealized image of the essence or attitude of a chosen character. (This would be similar to what is assigned to an illustrator for an interior book illustration, character driven card art, or spot illustrations for a magazine or D&D manual.)

 

Your Task

Bring a’ bio’ to class of a character that you will depict from mid thigh or waist up. We're focusing on beauty/idealism so choose one (male/female) that you have an affinity for, and will provide the opportunity to portray attitude and charisma. (Think angels, gods/goddesses or characters from mythology). Bring a half page write-up about your character: no need to put your writers-hat on here, just notes and details about the character.

 

Include:

Character’s name

Character description: Bullet points about the essence of the character as if you're describing him/her to someone

Mood: What is the character’s attitude or feeling that you want to portray?

 

(Below is a sample art description given to me for the Magic: the Gathering illustration depicted above.

 

            TITLE: [Basandra, Battle Seraph]

            SIZE: 2 1/16" (52mm) wide X 1 1/2" (38mm) tall  

            Color: White and red legendary creature 

            Location: Sky

            Action: Show Basandra, a legendary angel whose presence heralds war. Like all Magic angels, she's a sexy badass, but she has fire-engine-red hair and carries a long cat-o'-nine-tails with steel cable whips. It's up to you to design her costuming and style; she should feel like one of a kind.

            Focus: Basandra, the archangel of war

            Mood: "The blood spilled today shall be sanctified in my name.")

 

We will only be working on the drawing aspect of the illustration, which will include selecting appropriate, powerful reference, as well as shooting supplemental photos for costuming or hand and arm positions. The final drawing can be drawn entirely by hand or partially composed in Photoshop and printed if you wish to speed up the process of achieving a tight final tracing paper sketch. Keep your design iconic, without complicated backgrounds or surroundings. Select design elements and symbolism that are relevant and supportive to what the character is about.

The final drawing can be done entirely by hand or partially composed in Photoshop if you wish to speed up the process.

 

Materials 

Tracing paper pad 11x14"

Kneaded eraser

Pencils (B, 2B, 4B) or a Staedtler Mars Technico lead holder with leads and sharpener

Scotch Blue Painters tape 1" (style: delicate surfaces)

2-Charcoal White pencils – General’s #558

2-Prismacolor Sepia Drawing pencil

2 sheets- Strathmore Gotham Gray paper.

Sandpaper block

X-Acto knife for sharpening the pencils

Reference photos related to the character you have chosen. They can be printed out or on your laptop. Hi res is best.

(Part of the class is dedicated to selecting good reference to paint from. We will analyze the pros and cons of your selections in class.)

Items that would be helpful but not crucial: 

Digital camera (doesn't have to be fancy)

Laptop (Photoshop and drawing tablet if you have it)

Flash drive

If you would like a portfolio review please bring your version of that

 

Items we plan to have available:

 

Wifi will be available for culling additional internet sourced reference

A couple digital cameras will be on hand

A photo lamp for taking onsite photo reference

One laptop with printer and drawing tablet

 

 

 

 

Avacyn Restored - Descendants' Path - a Journey of Personal Healing

 

Descendants' Path seems to have struck a cord with a lot of people, and I confess that working on it was unexpectedly transformative.  But before I "descend" into an unusual display of personal transparency, I want to get the ordinary business on the table, and those who are so inclined can pursue the novel below.  

Here's the art description, along with the working title, that I was given when assigned this card for Magic the Gathering:

TITLE: [Natural Lineage]
Color: Green spell
Location: See below
Action: This is an abstract piece representing a human family's ancestry through history. This is a family of farmers, shepherds, and naturalists: people who are connected to the land and nature. You might show this as a sinuous, branching trail through some rural, lightly wooded hills, with small portraits of the men, women, and children of this family at the end of each branching road. The oldest family members might be closest to the "horizon," and the nearest are the children. Most of the people shown share a few physical characteristics in common (for example, wavy/curly hair, a certain half-smile, and/or freckles).
Focus: The overall sense of history
Mood: A journey through a family's history 

When I get an assignment like this... complex, challenging, daunting, I just sit and go, "Wow... so how am I supposed to pull this off and not make it look stupid??... on the size of a postage stamp, no less..."  With a Mormon mother fanatically into genealogy and family history (which I greatly respect) my first visuals were of what I did NOT want this to look like... a tree with branches and tons of little oval headshots plastered all over it.

There was a lot that resonated with me from the start, though... historical roots, trees: those one-leggeds who support life on the planet and whose esoteric meanings get top billing (or at least honorable mention) in almost all mythological traditions... people who work the earth (I grew up on a farm and had farmers throughout my lineage on both sides)... the phases of the moon that I immediately knew I would use to represent the passage of time, evolution, seasons, cycles, all of which conspire to breathe life into the newest descendants, christened by the "seed of life" with permission to shine, blossom... heir to everything that their ancestors have been, as well as to all they have not.

Being armed with what I didn't want, I started to reach for influences that would help me discover what I DID want.  One of my first grabs was "Heck's Pictorial Archive of Nature and Science".  I have a long-time fascination with old diagrammatical illustrations such as those found in DaVinci's sketchbooks, and those tucked within timeworn books of science, nature and the occult. I love to incorporate layers of symbolism which allude to a deeper knowledge and understanding, demonstrating how something works or highlighting the relationship between parts of a whole.

Then I turned to some of my favorite illustrators... ones that I've admired for years and that are especially good at integrating layers of texture and meaning using various collage techniques. Fred Otnes does this masterfully, and Mark English harmonizes beautifully designed, flat, stylistic shapes with a soft ephemeral realism.

Leafing through books of their art provided oodles of inspiration for how I wanted to construct Descendants'.  As you probably know, my library of art is extensive and one of my most treasured possessions.  I'm not sure that I would relate the same to jpegs on the web... just like smelling the paint on my palette , there's something to smelling the pages and turning them, one-by-one.   It's part of the meditative zen of my process.  Not to say that I don't scour the web, it's just that everything usually starts with the intimate experience my books and I share together... sometimes they want a cappuccino..... sometimes a glass of red wine... you have to get to know them and give them what they want so they'll divulge their secrets and deepest inspirations.

And yes, to those of you who have been following my work for a while, you'll notice similar use of diagrammatical themes in Guru Lands, and also in Silverskin Armor, to name a couple.

So... here's how I put all that together in the sketch:

Sketch

13.75 x 10"

Graphite on tracing paper parchment

Using the inspiration gleaned from the design sensibilities of Mark and Fred, and also Klimt, this is how the piece revealed itself.

Original Art 

13.75 x 10"

Mixed: acrylic, oil, colored pencil, old etchings, skeleton leaves, gold and silver leaf 

Limited edition prints are now available from my online store:

 

La "novela":

Just as trees with deep roots more easily weather a winter's storm, people with a deep sense of connection and family history are much more powerful and resilient.

I always had a longing to know my mother's mother, Grandma Gwendolyn Mouritsen Pitcher... I'm not exactly sure why.  Maybe it's because I knew she was a twin, just like me, only, her twin brother died when they were 17. Maybe it's because I knew it was she that gave my mother a deep love of music, which permeated my everyday life and eventually affixed itself to my own DNA.  Maybe it's because she was a Pisces, just like me, but that would have had to be an intuitive hit as I had no concept of astrology back then.   By the time my neurons were creating memories I could articulate, she was in a "rest home" (*cringe* - those were always creepy places to me).   My most vivid memory of her was the last time I saw her.

She was talking to us and being generally kind and pleasant, and eating peas.  I was painfully shy and quiet and thus could not speak up soon enough when I noticed something I wanted to warn her about.  After she swallowed, she looked down at me gently and said, "Now what was it you wanted to tell me about?"  Timidly I mumbled, "Well, it's just that there was a hair on that spoon of peas you just ate."  Stunned for a second, she countered, "Well NOW's a fine time to tell me about it!" and we all burst out laughing.

But sometimes, you don't get what you wish for... at least not at the time.  She died when I was five, the foliage of her life dropping into the soil of our lives... stories, memories and unmet longings left to compost over the years.

But in the between, I guess I didn't mind not knowing her.  A rich sense of history can feel more condemning than consoling during certain periods of your life.

 

The farmers on my mother's side were also pioneer-stock Mormons, through and through.  I came from a cultural heritage of strong and sturdy souls who stood for what they believed in, despite incredible persecution, ridicule and isolation.  They often sacrificed everything to cross the plains and create a fresh start for themselves in a new place where they could fully express who they felt called to be... where they could live according to the dictates of their own conscience.

I was always proud of that, and probably would have followed suit the way everyone expected had I not discovered that I had my own pioneering to do, my own plains to cross (where do you think I got the inspiration for Guru Lands ;-)

When I made the decision to leave the church so I could spend my life with the woman I fell in love with, it was, of course, terribly distressing to the family system... I was shunned, shamed and isolated.  The rich family history that had once nourished and empowered me, now felt toxic and suffocating... yet even so, it was too late... the strength of the ancestors was already in my bones, and there was no turning back.

To punctuate the dishonor, my mother scolded me for being excommunicated on the very day that used to celebrate Grandma's birthday... how did I dare to smear her memory???  As if it were an event I was somehow in charge of planning, like a bridal reception or baby shower.  No... the leaders of the church called me in at their convenience, formally removed my name from the records of the church, and made it home in time for Sunday dinner.  I, on the other hand, went to the park, spread my arms, and ran through the grass like a bird that had been freed at last from a cage that had become much, much too small.

At the time, quarantined from all of my normal support systems, I had no way of recognizing that, in some corner of my soul, I was haunted by the imagined disapproval of my grandmother.  

That is... until I accidentally summoned her through working on Descendants' Path.

As I began to wonder about who would participate in my co-creation, her face kept popping up... her and her father, my Great Grandfather, Mourits Mouritsen.  I used both of them in the piece, enjoyed the process of adding them in, honoring my own sense of history, regardless of how fractured, and didn't really think much more about it.  But Grandma Gwendolyn had more in mind.  

She had apparently decided that this Magic assignment was going to do some healing between worlds and generations, defying perceived separations of time and space.

From the depths of the unseen world, beneath the surface where the ground seems solid, where roots steadily reach for water, sustenance, stability, she found a way to let me know that she was proud of me for creating the life I wanted, and approved of the person I chose to share it with. Imperceptibly, over days as I ruminated upon the experience, I felt the nourishment move up and into the little places, resulting in a cellular relaxation I was unaware of needing, probably creating the possibility that there will be new fruit on the vine next summer.

The Tree of Life... from the One Source spring the ever-reaching expansions of humanity and life in all its forms... and after our leaves have fallen to the ground, long past the glory of their time in the sun... long past the time when our branches, no longer heavy in juicy splendor, have dropped to the earth, they become the rich, fertile soil that enables a healthy new Spring to come again, ensuring that the seed of new life will be stronger than the last... but only if we remember... only if the stories become a part of us, and we know that our lives are much more than individual accidents of DNA and heat and light.  A connection to the land, and to ancestral roots, seem vitally important... maybe it's the same thing.

 

 

Force of Will Print and Epic Tale: The Magic Life of Force

   
Force of Will was the very first Magic card I ever did for Wizards of the Coast back in 1996.  Though I didn't know it at the time, it turned out to be quite an auspicious debut, I guess you could say.  It's remained THE most popular card I've ever done, and I've painted well over 150 images for the game since then. 

The art director for MTG at the time, Sue Ann Harkey, had seen my art from comics I'd painted for DC and Marvel... I had also done some vampire paintings for a different WOTC department that she may have seen. 

Anyhow, she called me up and asked if I wanted to take on a few cards in the upcoming set, Alliances.  Of course I was delighted and eager to break into a new venue, and accepted at once.  When she was talking to me about my assignments, she mentioned in reference to Force of Will, "I'm not sure, but I think this is going to be a good card for you."

Guess she was right.  It's been one of the hallmarks of my Magic career.

Back in those days, the art direction and descriptions tended to be a bit looser... and they came over by fax.  (For you young people, faxes came right after pony express in the timeline of things). I wish I still had the original art description, but as far as I can remember, here's all it said:

• Red card
• Depict a Shaman using fire or red magic
• Working title: "Stop Spell"

I'd always thought Wolverine was a cool character, so I decided to give "Stop Spell" a don't-mess-with-me Wolverine-type attitude.  I was surprised that when the card came out, it had a blue border, instead of red.

Back in the days of fax machines, I was also using another technological dinosaur... the polaroid camera.  Actually, my custom was to shoot reference with a 35 mm camera, and then drop off the roll to a 1-hour photo place, but I didn't have the luxury of that much time when I was sketching Force of Will.

It was late at night, and I didn't have much time left on my deadline, so I had to spring for the polaroid (which cost me $1 per photo and looked pretty crappy most of the time).  Neither did I have the luxury of some body-building superhero at my disposal for reference, either, so I used what I could get... someone close to home... uh... me.

Back in those days I was working out pretty hard (anybody heard of Bill Phillips?) and had about 9% body fat, so I stripped down to my underwear, set up some good underlighting and let my little 6-pack create the foundation upon which I built my studly Force of Will.

Actually, that's really kind of embarrassing to admit... in fact, after you finish reading this post, it will vanish in a *poof* of smoke, leaving no trace that it ever existed... either that, or I'll have to kill you.  I don't actually like looking at that old photo... it's not that my body looked bad, but the granny panties... geez.  I didn't know Victoria back then.

Anyhow, I painted Force of Will bigger than I generally paint Magic cards now... the dimensions were probably 18 x 14".  Even so, I want to say it came together in a couple of days... on the faster side.  And I hadn't been out of school very long, so I probably painted the whole thing with gouache and colored pencil.

In 1997 (I think?), I was invited to sign at a Pro Tour in Stockholm, Sweden.  Force went with me, but didn't come home.  He'd lost his passport and got wisked away by the Swedish authorities (the same ones that are after Assange).  No... actually, he fell in love with a "player" (some of us have that unfortunate experience).  I think his name was Sven.

Seriously, though, it was hard to let him go, but pretty exciting to be taking home a nice wad of cash from the trip.  I haven't seen or heard of Force since... I'm sure he can take care of himself, but still, I wonder.  Every now and then I'll see his face... I have these recurring dreams of painting over him, time after time after time, morphing him into other characters.  Weird.

I've sold hundreds of prints over the years, as many people want him for themselves and as gifts for their friends.  There are two sizes to choose from:

• Small 8.5 x 11" open edition archival print
• Large 13 x 19" limited edition of 425, signed and numbered, printed on archival watercolor paper

 
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