I had no idea what I was getting into when I started my training as a “commercial artist”. Few schools offered any sort of specialized training, but I was lucky enough to snag a spot in Richard Bird’s ground-breaking design program when it first started up at Ricks College (now BYU-Idaho) in the mid-1970s. Despite my good fortune I remained essentially clueless – while Richard was refining a traditional illustration and graphic design program I was aiming for more adventuresome forms of expression featured in comics and the covers of books and record albums.
…and when I say clueless I mean clueless. I’d struggle with an overwhelming sense of despair as I looked through my collection of cover illustrations knowing that I’d never be able to render such tiny yet perfect images like the ones rendered by Frank Frazetta…never realizing that those gems were the phot0graphically reduced copies of larger and more manageable works.
While my first tentative efforts were heavily influenced by Frazetta and his contemporaries I made no conscious effort to emulate that work to the exclusion of other styles. I just thought it looked cool and I wanted to see more of the same, even if I had to make the stuff myself. Sometimes there was some actual risk involved. The vivid colors you see in this drawing were made by Flo-masters inks…which I don’t think are legal to use anymore. The intensity of the colors stemmed from the use of several exotic solvents in the ink’s preparation.
…just to give you a hint of what I was working with: the pens had interchangeable nibs, and when I’d put a used nib back into it’s slot in the carrying case the ink would spot-weld that used nib in place.