“Duel with the White Knight” a small 10″ x 8″ oil on panel from a scene in George R.R. Martin’s fantasy series originally commissioned for Fantasy Flight Publishing’s “The Art of A Song of Fire and Ice” to feature the sword master’s defense of Arya. Has just been made into a print available in the WebStore: < www.paravia.com/catalog >
An in depth interview from my perspective about cover art is featured in Watch the Skies. A fanzine available in print and seen online at:http://mysite.verizon.net/res89guj/id64.html
This cover art was completed last year and has been released as a paperback recently. I made a model of the spacecraft from descriptions in the manuscript. I glued foam board and cardboard with gesso and paint added, then suspended it with nylon line and photographed it using the same lighting direction as placed on the models.
Two dragon doodles in watercolor created in the comfort of my living room. My wife and I have his and her rolling laptop tables we employ as little watercolor stations. We drag them into action on our off hours as the artistic spirit moves us, like when we are barely watching a film that proves to be less than we hoped, or during moments when we find ourselves out of our studio but willing to fiddle with something. These two watercolor studies are about 10″ x 8″ and were painted on bristol board ( a smooth paper surface) using a small water color kit. These keep idle hands occupied, can be offered for sale, and used as preliminary ideas toward other works.
Original pencil drawing on the Remarqued print by Don Maitz, from the illustration initially appearing in Stephen King’s Desperation first edition. The print shown above is offered for sale to benefit the Haven Fund Charity Auction. The haven Fund was established by Stephen King to lend financial assistance to creative talents overtaken by crisis. This year’s auction is taking place now, and this is the last Don Maitz print to bid upon. Bidding closes on Feb. 24, at the following link – http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=200897436174
This print and others from the Desperation book are also available (without the remarque) from the Don Maitz and Janny Wurts web store – http://www.paravia.com/catalog/
I have been taking to the road occasionally with a Half-Julian outdoor easel trying my hand at oil painting in the open air, commonly referred to as “plein air” painting. Artists have sketched outdoors for generations using their field work as source material for larger works. Plein air painting has become an art form in itself. This process became much more accessible with the development of pigments in tubes which allowed artists to take their materials conveniently out of the studio. I believe tubes of paint and the outset of photography provided the motivation for the Impressionist movement to depart from traditional, representational studio painting in the 1800’s. For painters like myself, trained in still life and indoor figure painting, it is an experimental adventure to be “ out there” with paints and brushes trying to capture what I see. I admire those who do this regularly. Photographs cannot record the outdoors as can an observant eye, a controlled brush, and dedicated perseverance.
When I introduce sea rovers (or other figures) into the tropical environments I paint, as I did with “Drawn to the Sea”, an authenticity of place combines with my figure research to achieve a more truthful result, provided I successfully integrate light source information and perspective issues.
The location where I worked on “Tree Huggers” is a spot next to one of the hiking trails nearby which is left to grow wild. I was attracted to the dappled light seen through the foliage at sunset also repeated by the lichens on the trunk of the oak. I revisited this spot with my painting kit several times with this small 10” x 8” gesso panel as the light is so transient at that time of day. And because mosquitoes get so hungry when the sun is setting!
I suppose I am a true tree hugger at heart. We do all we can in our household to support the environment and lower our ecological footprint. This past year we had 42 solar panels installed on our studio roof that supply our home with solar electricity during daylight hours. Now, no matter the colors I employ in my work, every painting I do is “green”.