…let me warn you that you’ll never guess which Traveller supplement this illustration appeared in or which unpublished Metagaming project it was intended to be used in (but was subsequently “eighty-sixed” when Howard left the company.) I wasn’t art for the program book of some convention that named me as Artist Guest of Honor and it wasn’t a self-promotional portfolio piece I came up with during a slow week…because it’s NOT my work .
It was drawn by my son Sean during a middle school art class.
Proper dad-ship rests on the idea that a father does everything in his power to launch his kids successfully in life and Sean when started high school he was manifesting all the skills and knowledge necessary for a creative career not just equal to but surpassing mine. I’m not kidding – his drawing skills at sixteen were better than mine were at thirty, but when he started college he knew that as much as he loved art he needed an income more stable than art could provide. After spending twenty-five years watching me battle with the vagaries of a freelancer’s life he chose the path that I often wish I’d taken and kept creativity as an avocation instead of a vocation, a hobby to help alleviate stress rather than creating it.
…and he still manages to routinely add to an already impressive body of work.
I’ve personally had to battle severe mobility issues lately so it should be no surprise that the subject would manifest itself in my work as I was going back through my XL5 designs. In the original series Robert would use a regular jet-bike just like the rest of the crew but after I replaced legs with the “uni-ball” that option is – well – no longer an option.
,,,then it occurred to me that given her modular construction Roberta could be plugged into the jet-bike rather than riding it which would save weight/mass/maintenance. I’m not sure where the unplugged parts would be stored while she’s flying around – there would be plenty of room on Xl5 and possibly room for internal storage on this vehicle.
Dimensional illustration ( or sculptural work photographed and used as editorial illustration) was a fairly short-lived discipline in the commercial arts. Used occasionally more as novelty it came into its own in the “80s and ‘90s and even had its own annual awards competition1 but by the turn of the millennium it had been thoroughly supplanted by computer graphics.
It was during that brief period of popularity that My Beautiful Saxon Princess and I were invited to be the Artist Guest of Honor at LibertyCon X, a regional relaxacon chaired seemingly forever by the late SMOF2 Uncle Timmy Bolgeo; given my interests at the time it was a no-brainer that I’d come up with something sculptural for the program book cover. As a subtle tip-of-the-hat to Sir Gerry Anderson’s work it has always been one of my favorites but at the same time it has been the source of frustration to me over the last 22 years, mostly because I’ve never had a decent image for my portfolio.
It was used for the convention program book and T-shirt – and while the shirt turned out pretty good the book cover was terrible, being printed black line on a dark-colored background. The original sold in the art show and while I was happy to have at least one month of my mortgage paid as a result of the sale the purchaser soon moved far away and all I had was a fuzzy ink-jet print to show in my book.
…then my good friend and digital ace Kent Gardener stepped in and did his magic smoothing out backgrounds and generally making the image presentable.
Production notes: The original measured approximately 24”X12”X5” and was constructed from Super-Sculpey, styrene plastic, wood, illustration board and paint.
- Go ahead and ask me: “ David – did YOU ever win an award for your dimensional work?” to which I humbly answer : “Aw shucks folks I did win me a Bronze medal in 1993”
- SMOF: Secret Master of Fandom
Other than knowing how to sling an airbrush and wield a marker I was totally clueless at the outset of my freelance career. As I’ve written earlier my parents were not overly enthusiastic about my career choices and until my second year of college the only bona-fide artist I knew was Peninsula pioneer and Renaissance man Cotton Moore…and it didn’t get much better when I finally started studying art in college as practicalities of an designer’s life were glossed over in favor of draftsmanship and technique.
Somewhere along the line I discovered CA (Communications Arts) magazine and learned about promotions and hustling up work…which immediately started the internal Stukas tearing up my innards. Along with all sorts of naturopathic remedies I had been spoon-fed in my youth with the idea that you “didn’t shoot off your mouth about yourself”, that hard-work and professional results were the best advertisement ever and in the initial stage of my illustration career that proved to be a sound plan.
…then came the evening in late 1984 when I looked at our snug little home, my sleeping children, the moths flying out of our checkbook and realized that at my current income we’d soon be getting our mail at nsmCardboard Box 5, Under The Overpass at Exit 272 , Utah 77340
My first step was to increase my efforts showing my portfolio locally, but I also went back to CA (then subsequently Step By Step and How-To magazines ) and started researching the idea of promotional mailers. As I was living in the creative wilderness of the Intermountain West a decade before computer aided design (with printers and scanners) the process of designing/printing/distributing promotional mailers was extremely labor-intensive but I managed to churn out some nice work which in turn brought in new clients and an increase in assignments. .
Skye Boat Song was the first promotional image I sent out – the image was inspired by Gordon Dickson’s classic military science fiction novel Tactics of Mistake while the title was a pun playing off the title of one of the first bagpipe tunes I ever learned. The type was all set by hand using Letraset press-type and pairing with the image involved more work with a PS 79 Proportional Scale than should be allowed by law. As photographic prints they were a little pricey to print up, but I sent 25 out in December of 1984 followed an equal amount a month later. As a promotional mailer it wasn’t too terribly successful, but it did startle an existing client into formalizing our relationship and feeding me a LOT more work, so it definitely was one for the win column.
I was actually indulging one of my secret vices (“Choosing Beggers” videos by YouTube content provider RSlash ) when I stumbled onto this young man’s work about a month ago. As I watched Furze document his creations via time-lapse video I was convinced that I was seeing some rather ambitious digital work but as I’ve gone through video after video I finally realized Colin is the person that I’ve always styled myself to be: the man who can make anything.
I’d like to say that Colin is a younger version of me – a 30+ year younger version but he has twice the skill-set I do, a rather hefty sponsorship from eBay and a physical presence I can only aspire to (think Bryan Adams with a Lincolnshire accent.) His life is the most compelling argument for young people to actively consider going into the trades as opposed to incurring crippling debt for a college degree.
I’m including just one of these video clips but there are plenty more to choose from.
One of the last projects I did for Game Designers’ Workshop was the cover for the Traveller: New Era supplement Path of Tears…and like just about every work of art I’ve created there are stories involved in the making of the painting. For example, I’m sharing both the finished art (left image) and the preliminary comprehensive sketch (center image) that had to be approved before I started work – but I’m also sharing my first concept for the cover (right image) that was rejected as not having enough action.
…and then there are the figures themselves.
When the cover was published I took some good-natured ribbing from friends for hubris I was showing by using myself as a model for the central character…except this was painted in 1993 and by that time my sons were teen-agers and accomplished models, so it was my older son Conrad that served as the model for the central character. He just happened to have developed the Deitrick “look” by that time.
You may also notice that the group was a bit more diverse than was expected for a gaming supplement in 1993. GDW was always good about that sort of thing, especially it wasn’t an effort at political correctness on my part but rather my own inherent “there’s room for everyone” mindset that made the original Trek series a favorite when I was in my early teens.
As much as I love Fireball XL5 I have to admit that it was one of Sir Gerry’s earlier “sophomore” efforts and definitely aimed at young children, so there were often some rather broad liberties taken with actual science as in spacecraft speeds and most especially extra-vehicular activity.
(Even Sylvia Anderson groaned during an interview years later over the subject of “oxygen pills”.)
Well, this drawing will hopefully address some of those problems as I’ve incorporated aspects of the thruster packs with a life-support suit styled after the original pointy-shouldered World Space Patrol uniforms. The image is based on a sketchbook drawing I shared here a couple of years ago but there are two very important additions: The first and most obvious is the clear Plexiglas helmet while the second is the unit Steve is wearing on the lower right side of his harness used with the round disk held in his right hand – an “oxygen pill”
I’d like to say that I was the first one to think of a breathing unit based on an solid-form air supply but Wally Wood used it first in an updated SCUBA rig in his excellent apocalyptic adventure series M.A.R.S. PATROL /TOTAL WAR published by Gold Key Comics in the 1960s…but to be totally but to be totally fair Wally did some “borrowing” as well.
For several decades the United States Navy has used a breathing device that uses heat combined with potassium superoxide and sodium chlorate produce oxygen for personnel in fire-fighting operations. While it’s I’ve taken my own liberties with science in terms of the size and duration of the chemical air supply I think it solves the “Oxygen Pill” issue with a minimum of fuss
This cut-paper sculpture figures prominently in a post I wrote a couple of years that was entitled 2003: Have You Ever Heard of an Artist Named David Deitrick.
(You’ll find information about the BEYOND INFINITY – the book it illustrated)
While rooting through old files today I found the preliminary sketch and I thought it would be kind of cool to show the two versions side-by-side. For both personal and professional reasons I’ve always put a lot of effort into my sketches- creating the final art is made much easier and it’s harder for clients to complain if the sketch they approved beforehand is meticulously followed.
I produced this illustration in and around the kiddie Traveller box art, with both projects getting sent to press just prior to my deployment via C-130 for JRX BRIM FROST 1983. I was glad to have the work but more than a little stressed as I was responsible for both getting the battalion ready to go as well as the running the airfield control group for the entire exercise once we got to the area of operations.
I also wondered why GDW was opting for a second cover so soon after the first printing. Say what you want about style but the original cover art by Rodger MacGowan is definitely an iconic piece in the Traveller mythos.
I have no idea where the original art ended up but I do remember it as measuring about 18″X24″ and was rendered with airbrush, colored pencil, marker and marbilized enamel on cold-press illustration board.
Second of the illustrations I did for Charlie Ryan at Aboriginal Science Fiction magazine. Again, I cannot remember the title/author of the story this image accompanied but I do recall the plot had to do with researchers in inflatable watercraft “imprinting” migration patterns on a group of auks. It was a near-future story and I think the auks in question were an extinct breed that had been restored in a Jurassic Park-type process.
This was a transition piece for me. I am hard-wired to work in a graphic manner so painterly rendering does not come easy for me. While the sky/background and raft were produced in my regular airbrush method the figure, ocean and birds were all done with a brush.