From the Collection of

As an illustrator, I don't buy a lot of original art myself. Gotta save money for all that Ramen, I suppose. But over the years I have gathered a small collection of original art. Much of it has been gotten through trades, with an occasional piece purchased if I can find a good deal or happen to have just made a nice paycheck.

While at the World Fantasy Convention a few weeks back, the legendary Darrell K. Sweet was the Guest of Honor. He put on an incredible retrospective show, featuring pieces from the 1970's through now, with paintings from some of his highlights: early Tolkien work, Xanth covers, Wheel of Time, and lots of good stuff in-between. I first saw his paintings in the mid-90s at a local convention back in CA when I was still young and impressionable, probably my first year of art school, or around there. I knew his work well already, as it had graced the covers of many of the books I'd read. I'd always assumed he used oils, as his handling and color had a very turn of the century (*that* century, 20c) classical look about it. I was floored to learn he was using acrylics, exclusively. So much the fan was I that I did a landscape study based on one of his paintings (in storage somewhere), in acrylic, to try to learn what his secrets were.

This guy has been illustrating longer than I've been alive, is now in his mid-70s and still working hard. You simply cannot as an illustrator ask for more.

He also had on show, and also for sale, a number of small color studies. Hardly anyone does painted color studies anymore, but Darrell still does. They are in acrylic, too, and are great little gems--detailed while remaining very loose at the same time. A great schooling in acrylic handling. They go for very modest prices, and though while I was a poor student I could not afford to get one (I tried), I am slightly less poor than I was then, so I plunked down a little money and picked up this 8.5x12" painting:

 

© 1997 Darrell K. Sweet

Due to my tiny living space, I won't be able to hang this one any time soon, but I look forward to the day when I live in more than 500sq' again and can start to hang my collection. It may also be interesting to see that not only do I make and sell and encourage people to buy original art, but when I can I do so myself!

The Freedom to Fail

I suppose I could be ok doing the same thing over and over. It's a rather easy situation to fall into in illustration. Art descriptions may get repetitive, you might get pigeonholed into doing certain types of illustration, and so on. Most folk didn't get into illustration to do the same thing over and over, however. A certain desire to grow, learn and evolve exists in probably every artist. But one thing can easily get in the way of all this:

Not having the freedom to fail.

Illustrators, like most folks, do not have the freedom to fail in their jobs. When you try something new--some new medium, some new approach, manner of composing an image, very different color scheme, and so on, you risk LOLcat levels of fail.

Failing as a professional by trying things out is a bad idea--you can lose a client in a heartbeat by pulling these shenanigans. I should know, I made these same horrible lapses of judgment myself throughout the 90s in my first years as an illustrator. You don't head in *thinking* you're going to fail, or you wouldn't do it. But when you do, all you can do is facepalm and tell yourself you should've known better.

So, for the past 10 years or so I've tried to give myself outlets for fail. Whether that be something simple like figure drawing, or these museum studies, plein-air painting, or other art experiments you maybe never see here, I've made an effort to experiment only off-stage. By doing so, I've been able to practice new methods, refine certain techniques, explore new media, and so on. If I fail (and it happens), I can bury it outside public view. If it goes well, I share it and then roll it into my assignment-based work, where it improves my professional art. My clients, therefore, never have to worry that I'm going to suddenly pull some Jeckyl/Hyde routine on them. And, honestly, by regularly injecting my illustration work with the positive results of these experiments, it keeps illustration work fresh and exciting, and predictable for clients at the same time. That's important for them.

But, being able to fail spectacularly, in private, is important for me.

The Gray Mouser

"You are more tempted by the hot lips of black magic than the chaste slim fingers of white, no matter to how pretty a misling the latter belong--no, do not deny it! You are more drawn to the beguiling sinuosities of the left-hand path than the straight deep road of the right. I fear me you will never be mouse in the end but mouser. And never white but gray--oh well, that's better than black." --Fritz Leiber, "The Unholy Grail"

When I began reading Leiber's classic series of sword-and-sorcery earlier this year, it was with an eye towards finding something to paint. There hasn't been a lot of attention devoted to Lankhmar these past few years, and I prefer to play in quiet corners. This description, from The Gray Mouser's introduction story, was perfect. In that story, some of his past was discussed which left a lot of hope that some of the psychological turmoil of trying to ride between dark and light would be a feature of the stories as they went on. It became the basis of designing this illustration, supplementing it with other details from the first two books.

Nevertheless, it was with disappointment that I found that after this story, Mouser simply appears as a fairly standard rogue character. This was of course hinted in the same paragraph as above: "You are a middling dutiful scholar, but secretly you favor swords over wands." Still, I'm surprised Leiber left such fertile ground behind. Perhaps Mouser picks up magic again later? I don't know, and I'll probably move on to other things and maybe never find out.

This was the piece I worked on while at the Racebrook Retreat a few weeks back (you can see me working on it). The study was previously posted here,  as well. It's rather large, as my work goes, at 24x30". Once a figure gets to about 50% life-scale, I find it very enjoyable to paint, requiring different brushes and approach. Though I basically use the same methods, there's just a little more room to play.

By the end of the week (Mon-Thursday, really--Friday wasn't really a work day for me), I had gotten this far, which may be educational to see, in terms of seeing how fast/slow I work. This was with 4 fairly long workdays:

At this point his belt/bag, tunic, and flesh were basically done. I touched up the head and hands a bit more, but everything else still had work to do. I glazed and then textured his cloak, finished his dagger/sword, and added in the "beguiling sinuosities" again at the end.

Larger view and image information is available over here.

WFC: Judge's Choice

I attended the World Fantasy Convention in Columbus, OH over the Halloween weekend. I had a 2-panel display on which I showed original art for Embryonic, The Unknown God, The Balance of Power, Mosquito Guard, Anne Bonny, my new piece (the Gray Mouser, which I'll add on Wednesday), and The Sacrifice.

Saturday night was the Artist's Reception, and I was thrilled to see that while I was away, the jury had passed through and given out some awards. Guest of Honor Darrell K. Sweet took Best In Show (deservedly), but I was happy to see that The Sacrifice had received a Judge's Choice!

The Last Enemy Playmats

 

For years now, various companies have produced these soft playmats, which are used by players the world over to keep their cards from getting scratched up on tables. A wise move for those with expensive cards, in particular. Usually, these have been produced just completely plain, and so they have become a new form of canvas for us illustrators. At conventions and appearances, players often walk up with these and ask us to draw on them. I usually do (for a small fee). One of the most common things I'll draw is a reaper of some kind, hearkening back to my Dance of the Dead illustration from my first Magic set in 1994. So, it seemed appropriate that when there was an actual full-color playmat made of my work, that it feature a reaper on it. As it turns out, I painted such an image just a year or so ago, though not for this purpose. By making the image wider, I was able to get it to fit on a playmat, and so have done just that.

These were produced by CCGStuff.com, and look fantastic. I have a small stock of these which I can sell, and so I've made them available until they are gone. They'll come signed. I've added in a flat shipping price for them, so that if you happen to order any of the other goods offered in my other free shipping sales running currently, no additional shipping will be added.

So, go get 'em!

Sketchbook Sale!

Update: This offer has ended!

Today is the 6th year anniversary of Exit Within. In light of that, a sale for my blog readers in particular, whether you come here direct or from links elsewhere.

Perhaps you don't have a copy of Dreaming in Black and White yet. That's possible. Not advisable, but possible! Well, whether you've been waiting a bit to pick it up, or forgot it existed, or maybe didn't know that I published a 64-page book full of drawings, consider yourself on notice! I mean, those can be the only rational reasons for not owning one. I suppose the $19.95+shipping retail price could be a barrier for a few--well, now you have no excuse either!!

<--Look at that! Inside, I crammed it full of art made in preparation for illustrations created for Magic: the Gathering, Dungeons & Dragons, the World of Warcraft CCG, and lots of other stuff from mostly ~2003-2007. Alternate versions, story illustrations, a self-portrait on the Introduction page...this book has all of that, and still more. It's also, for now, the only book collection of my work. I have dreams of someday issuing a color book, but that won't happen before I sell through the remaining stock of this. But you're not motivated by guilt, I can tell.

So, there's a special sale going on now through Dec.10, and it's only available through this blog, to thank you for visiting Exit Within. If you access the book from within my website, you'll get the retail price. Boo!

However, by using this super-secret link, you can access the sale page where I've knocked $5 off the price, and am offering it with free shipping--for a total of $10 off for US customers (or more for Int'l folk). The book will be shipped Media Mail (or Airmail for Int'l), so it may take a little longer to arrive, but you'll have saved $10+, and it's signed. And awesome.

Once you're recovered from the shock of processing this great deal, you may wonder what would happen if you also wanted to add prints or some white-backed artist proofs to your order--wouldn't that add shipping again? Normally it would, but yesterday I started a  not-so-secret sale adding Free Shipping to all prints and proofs. I've got you covered.

So, use the super-secret link and right a wrong. And if you want to share the super-secret link by posting it elsewhere, maybe using the links below, I can tell you confidently that I'll be looking the other way....

Whether you're new to this blog or are the one guy out there who has read every post for 6 years, thank you for helping Exit Within remain worthwhile far longer than I thought I might keep it up.

Holiday Sale: Free Shipping on Prints and Artist Proofs!

Update: this offer has ended! Links will expire in time.

Through Dec. 10, all prints and white-backed artist proofs on my site have been marked for Free Shipping, so it's a great time to save yourself $5 (or more). Shipping will be via 1st class or Airmail as appropriate. I can't guarantee Christmas shipping for International Orders past around Dec.1, so get those in early. Otherwise, everything should arrive in time. The full list of prints in particular can be found here.

"Really? You're going to make me click over and browse? My finger is tired." Well, ok, here are some popular print favorites (click image to jump straight there):
"But, Mr. Gallegos, I've got a lot of things on my mind during the holidays, maybe I'll just wait until after the New Year and stop in to get some prints, but thanks for the reminder!" Unwise, my friend. You see, for the New Year I'm going to be reducing the prints I'm making available on my website by maybe 8 images. Not sure which, yet. So, you may not be able to find what you're looking for by then!

As for white-backed artist proof cards, perhaps you've been stymied when wanting a single card, being charged $5 for Priority Mail shipping, and so walked away? Well, now you can grab what you need with impunity. Do you like Magic cards? World of Warcraft? Doesn't matter, I love you both.

"Thank you Mr. Gallegos! This is going to be the best Chrismahanukwanzakah ever!" I know, I know, and you're welcome. So again, check it all out here.

(Disclaimer: cards with sketches on them are still subject to up to 30 days shipping time. I'll try to get them all out by Dec.10, but can't guarantee it)

Museum Studies, Pt.3

(R) Chukchee Armor, 19c., 7.75x6" Pencil on paper(purchase info)


The Chukchee (or Chukchi) are a tundra-dwelling folk, who for centuries resisted the Russians' attempts to conquer them. I don't normally associate snow-dwelling tribes with war or armor, but the Chukchee armor on display at the AMNH was very interesting in its construction. The whole thing was interesting, but the helmet stood out to me, both as an interesting shape and as a clever design.

It's probably irrelevant to you, but these studies are not indicative of the order in which they were done, neither in most cases were the pieces shown together done the same day. Rather, I've tried to mix them up for variety. Also, since I created a decent backlog before starting to ensure I would actually be able to sustain the monthly-pace, don't be surprised to see 2010 pieces appearing well into '11.

As with the Society of Illustrators, where I did figure drawing, getting to the AMNH is about 45 minutes by subway. So going to the museum to draw inevitably takes up more than half a day. For this reason, I really wish the museum had later hours. It closes at 5:45pm every day. So if I'm going to get in 4 hours or so of drawing, I have to leave by 1pm. That means that museum days are things I fit in typically between assignments, or at the front-end, when I need reference and am not in 4th gear on a painting. Sometimes, I'll go on the weekend.

Komodo Dragon, 6x8" Pastel on paper (purchase info)