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.
Charlie Ryan has spent a lifetime as an old-school journalist, but I know him best from the two science fiction magazines he published in the last quarter of the 20th century. I read every copy of his first book Galileo but I was lucky enough to produce illustrations for his sophomore effort Aboriginal Science Fiction. At the time I was trying to break out of the role-playing game market but I soon found that working for Charlies involved a lot more than just switching venues. Illustrating a story is a little different than creating a game cover and it took some mental stretching on my part, but Charlie was always willing to work with me. He was also one of the first publishers to use my sculptural work in print when I made the change to dimensional illustration in the mid-Nineties.
This was the first illustration I did for him – it was also one of the first pieces I produced after we moved to Sterling, Alaska in 1987. I can’t remember the title of the story – the original was sold years ago and I’ve lost the magazine it appeared in during one of the four moves we’ve made in the last thirty years.
(Seventh in an intermittent series on Real-Life Gerry Anderson Vehicles – RLGAV)
I figured that with Amazon’s Thunderbirds Are Go series ramping up for another season the only hardware with that Meddings/Trim “vibe” would be on the small screen, but this design could easily be Fireflash 2.0.
Reworked Hansen’s trooper with a bit of color added. Fairly easy undertaking when you’re working with winter camouflage!