Another cardboard construction–this was made for a Saturday morning “drive-in movie” activity for church. Most of our time was spent keeping older kids from sweet-talking Meggie into trading rides with them.
This is also a good example of the viewer interaction I try to incorporate into my work. At times I will render only part of a background or just “indicate” it via simple line work. I do that so the viewer will be able to complete the image in their mind.
I found that my enthusiasm waned for things like Star Trek, Star Wars and Traveller as more background information was added. It was more fun for me to fill in the blanks myself.
I learned early on that good reference material get you a good painting. I have file cabinets full of clippings laboriously collected over the years but I find that even with all of those images available I usually end up shooting new photos for each project. It’s better to have a photo tailored to your design than it is to tailor your design to the reference you have on hand.
I have also found that even with the ba-jillion images available via the Internet I still have to set up shots. Google “The Romulan Starship ‘Buzzard’s Breath'” and you’ll get 100K results… but 998K of the images will be the same identical shot.
I don’t set out to use myself as a model but I often find it so much easier to do so. With this cover painting I wasted 45 minutes trying to get my model into the desired “crazed cult-member pose,” and in the end I had to pose while he took the photo. My only regret is that I couldn’t keep my McGuyveresque locks into the painting.
You never know beforehand who the best models will be either. I tried using one of Lori’s drop-dead gorgeous friends for a FASA Star Trek piece but the girl had no acting “muggability” at all. The gentleman who posed for the soldier in this painting verbally worried about “everyone in the neighborhood staring at him” during the shoot despite the fact that there were two, maybe three kids (no adults) within a four-home radius.
I make fairly precise comps, to the point that some of the more literal editors I’ve encountered will assume that the final art will “have all those black lines.” Luckily that wasn’t an issue with this project because the art director was Kirk Wescom, one of the best ADs I’ve ever worked with.
(How good is Kirk? When you look in the dictionary for “art director” you’ll find his picture next to the citation.)
…and the only change he requested was to change the background color to the teal shade I had specified for the first and third volumes.
Toward the end of the run for GDW there was an effort to revive the Traveller line through a reboot. Well, not actually a “reboot” in that it wasn’t a remake like Traveller: 2300 was, but they moved the time period a couple of decades along and tweaked some of the dynamics of the races involved.
I did some work for Traveller: the New Era (TNE) but nothing near the amount I did for the original game. TNE didn’t have nearly the sales and it hasn’t held up as well over the years with fans. On a purely self-centered level that is very disappointing because some of my best work was for TNE and this set of three covers was the best of the lot.
Even though they were unlikely to all be on the stands together at the same time, I designed the three books so they would work together if they did. While not completely accurate, the term “tryptch” has been used in describing this set. Unfortunately the third book was never published; it wasn’t a matter of quality (Paul Brunette is a good word-cruncher) but rather economics. There was a change in paper stock with the second book which made it noticeably heavier and sales (or lack thereof) did not do well enough to warrant the extra freight charges so The Backwards Mask (Book 3) never saw print.