New art, new prints, and original art at the upcoming Reel Art Artists Day. Once again, I am very excited to sit among great artists for one day only in Berwyn. Hope to see you there!

I will be a part of an exciting book release and signing this coming week end in the southern suburbs of Chicago at Amazing Fantasy Books and Comics. I was asked to create a variant cover for C.O.W.L. #1 by Kyle Higgins, Alec Siegel, and Rod Reis from Image Comics and Kyle, Alec, and I will be signing at all four AF stores. Needless to say, but I'll say it anyway - I'm beside myself to be a small part of the release of this new series. Especially, because I would have been buying it anyway. The first issue is awesome and I'm looking forward to the rest of the series. The Amazing Fantasy variant is limited and available only at the AF stores and site.
Come out and pick up a few copies for yourself:

I'm pleased to announce that my painting, "Satyr" is included in the release of Lands and Legends from volume one of The Fantasy Illustration Library from Michael Publishing.



It's a fantastic collection of fantasy paintings that include some of the very best in the field of fantasy art. If you are a collector of fantasy art and/or beautiful fantasy art books, this is one you'd be thrilled to have on your shelf. Available at conventions and online: http://www.michaelpublishing.net/

Part 3: I'm set to wrap this project up. Now that I have the background and foreground colors in place, I start finishing the painting.

The dark's are placed first; Rocky's hair, her 1940's hairstyle, folds in their clothes, shadows, the green fern on the left, and work on the details in the buildings. I finish up with adding first the warm highlights and then finally the cool highlights first in the figures and followed by the background.

I step back and decided to darken up the figures in the foreground first and add more blue over the flesh tones. Then I decided to fine tune the background adding cool Greens, Blues, Purple, and Payne's Gray. Approximate time for the overall painting was 25 hours.

I immediately set to scan Rocky Jordan and make a few notes to myself on what I should touch up. I will do a few fine tuning and clean up in Photoshop before I save and send the file. Images of black and white spot illustrations start developing in my my mind. I'm still so immersed into the project, I'm thinking of what else I can do.... but it's onto the next one!

Continued from yesterday's post on the pencil process, here we are in the paint. Part 2:

I transferred my drawing to a heavy weight illustration board prepared with gesso using a graphite pencil and sharpened up the drawing using Prismacolor pencils: Burnt Ochre, Light Umber, Terra Cotta, and Black.


I also tinted the overall board with a light coat of Raw Umber acrylic paint and blocked in the dark's with Payne's Grey or Raw Umber.

I cut some masks using a clear acetate and started on the background colors, keeping the two main figures covered up. I glazed acrylic color with the airbrush into the overall background, working light to dark, and enjoying the process of the colors working together; warm and cool. At this point I was creating a dance between the blue sky at dusk (Cobalt Blue) and the warm glow and shadows of the buildings (Yellow Ochre, Raw Sienna, Raw Umber, Burnt Umber, Ultramarine Blue, Phthalo Green, and Dioxazine Purple).


Examining the hue of the sky against the buildings:

After I've laid down the background colors, I remove the masks to take a look at what's going on. Total time is approximately 5 hours. Background is not complete but it's time to move onto the figures before I work on the background anymore. I'll complete the background and figures pretty much together as the painting starts to fall into place.

I start with the flesh tone of both figures (Raw Sienna, Burnt Sienna, Light Portrait Pink) and shadows in the face and hands (Viridian Hue Perm., Cerulean Blue).


A short break and call to my friend Anthony Schiavino. He and I collaborated on my Knuckles, Tough Guy for Hire painting for his publication, "Episodes From The Zero Hour". Anthony knows pulp and I've trusted him for many years. I'd been tossing around ideas for both Rocky's coat and the femme fatale's dress but I wanted Anthony's opinion. Even though I knew which way I was leaning - I wanted to be absolutely sure. White coat and deep blue dress. Got it, thanks Anthony.

I bit of Dioxazine Purple and Raw Umber next to some Cadmium Yellow Medium areas, then Ultramarine Blue glazed over the dress.

Stay tuned.

I had another wonderful pulp opportunity of illustrating the cover collection for the old time radio show “Rocky Jordan” available from Radio Archives this year. A  quick introduction for anyone who isn’t familiar with the show can be found on RA’s website; "Rocky Jordan" is very reminiscent of the classic movie "Casablanca." You'll remember that, at the end of the 1942 movie, nightclub owner Rick Blaine (Humphrey Bogart) and Police Captain Louis Renault (Claude Rains) walk off into the night, leaving Casablanca to join the Free French garrison across the desert. The settings of both stories are nearly identical: the desert sands, the fez, the turbans, the robes, the underworld lowlifes who visit the cafe. In "Casablanca," 'everyone comes to Rick's'. Not so in "Rocky Jordan;" the Cafe Tambourine is a lower-class establishment (in Cairo). It's more a waterfront dive, filled with forgotten men. And, unlike "Casablanca," the war is over -- but not the mystery or the intrigue. I really like the characters and stories - and enjoy working while listening to the shows.
The project presented some interesting ideas, but I felt I had a rough start pin pointing something special for the client. So I started diving into my sketchbook.
I originally was creating thumbnail sketches that were inspired by paperback covers by David Grove and/or Kazu Sano. I was interested in more of a montage of characters and setting with mood lighting and colors. I thought it would fit the right emotion that I got out of listening to the programs.

But, after looking at the quick thumbnails, I realized it just wasn’t going to work for the OTR audience and packaging. At least I crossed off one option and time to keep moving forward. So, I decided on a doing a scene reminiscent of noir film, or vintage pulp imagery with a femme fatale confronting Rocky. In the background I’d want the policeman Sam Sabaaya to be seen coming out of, perhaps, the Cafe Tambourine, just in time to help the situation and solve the case. That’s what I was thinking here and it was enough to get me going.

I sketched out a tense scene in the Cafe Tambourine and liked what was going on with the action and composition. Good story illustration but I felt it wasn't working yet. It would be a nice sequential panel but with Rocky's back to us wasn't good for a cover. The best solution was to turn him around and get the viewer involved, and I did a quick rough sketch to see what I thought. 

The more I left this idea alone, the more it kept growing on me. I decided to move forward with this for the moment and see what I can do with it. Once I shot my model for Rocky Jordan and collected my other references, I pulled together a tight drawing - and I ended up really being pleased with the results. I pulled back on the composition to see more of the figures, especially Rocky in front. Tom Brown at Radio Archives agreed and approved the drawing right away and I was thrilled to begin painting this one.

Earlier this year my friends at Reel Art commissioned me to design and paint a poster for a screening of the Spanish version of Universal's Dracula in support of the Northwest Chicago Film Society. I enthusiastically took this opportunity to pay homage to the Warren magazine covers and Castle Films 8mm / Super 8 box art from my childhood. I've posted a process image while working on the face to show the Famous Monsters of Filmland influence and the final poster illustration with design by Bob Garcia. The Dracula logo is painted in acrylics on a separate board and finished in Photoshop.

Long over due for a post here, so I'm getting right to it. My new Sketchbook is available at all upcoming conventions and signings. Sketchbook 3 is heavy on the pulp this time around and is printed on glossy paper. It nicely displays the black and white painted spots that I created for a variety of pulp oriented projects. Collected are pencil sketches for covers for Radio Archives, American Fantasy Press, and others but most of the art is finished illustrations. Plus I've featured some of my favorite characters including: detectives, femme fatales, John Carter, Tarzan, Green Hornet, The Shadow, and others!
Upcoming is Wizard World Chicago, August 8-11 and a late July signing (to be announced) at Reel Art in Berwyn, Illinois.

Warmest wishes for the holidays. Thank you for visiting my blog and your interest in my artwork. I am grateful to all who have commissioned artwork, purchased a print, my sketchbooks or have sent a message saying how much they enjoy my paintings during the past year. I am proud to present a recent painting of mine that was commissioned for the promotional calendar for the Joffrey Ballet's 25th Anniversary production of The Nutcracker, published by Munro Campagna Artist Representatives in Chicago. My painting of the Joffrey's principal dancers can be found gracing the month of September 2013.

From New Album 1/21/08 10:23 PM

I was visiting a friends gallery awhile ago and was asked about some of the projects I was currently working on. After offering some top secret information about various assignments, I mentioned a very interesting commission that was sitting before me. I said, "There's this really interesting piece that I've been sketching and about to start painting. It's H.P. Lovecraft visiting Sam Spade (portrayed by Humphrey Bogart) and Lovecraft is presenting a cthulhu statue, while Sam is displaying his Maltese Falcon." The explosion of laughter and enthusiasm from my friends at the gallery was exciting and it actually took me off guard!
I had known that I was fortunate to receive this commission but I didn't think anyone else would understand it or find it as exciting for me or for the patron who approached me. After all it was a personal request that the collector had been thinking about for sometime - and was waiting patiently for me to paint. In fact, when he first explained his idea to me, I immediately thought how awesome of a concept it was, but he didn't think it would be something that I'd be interested in or that I'd find it as cool of an idea that he'd been keeping to himself!
So, we discussed his idea in depth and did some rough thumbnails to capture his idea all while the "Maltese Falcon" played in the background. I wanted the complete back story so I could do his concept a deserved service and something that he can feel pride in. All I will say is that my friend, John is a big time detective, Maltese Falcon, film noir, pulp loving, fedora and trench coat wearing fan- who just happens to be a huge H.P. Lovecraft fan!
The BIG challenge here was a side view of Lovecraft to fit the rough we decided on. I had to get a good likeness to work from and all photo references that I could find were front view portraits and most were in shadow. The lighting for the painting was to be similar if not identical to the Sam Spade office set of the classic film. I also looked at paintings by illustrator, Harry Anderson for an overall emotional tone, and some composition inspiration. I wanted the painting to basically be that quiet moment when H.P holds up the artifact and the moment before Sam responds. Almost a pause or a reflection.
I had my model come in and do a photo shoot. My friend Dave doesn't look like Lovecraft but I knew I could work with him and I'd be able to get a solid foundation down. It took awhile and I almost lost heart but the pencil studies eventually "clicked" and I felt very confident that I had gotten a great likeness that people would respond correctly with.
Once I finished a rough drawing for presentation I waited for a response from John. I was mighty anxious to start painting but I'll admit that I was a bit nervous that John would have some comments. Fortunately he gave a call right away and it was all praise. I immediately began and finished the painting in about a weeks time in between a variety of other deadlines and obstacles. "The stuff that dreams are made of."- Sam Spade.

Happy Halloween! And in anticipation of the Holidays approaching, I wanted to reveal some great news concerning one Monster model from the past. I was contacted a few years ago by Monarch Models to paint an illustration of Gorgo for an upcoming release. I was treated to a prototype of the Gorgo model to work from, I knew of the movie (but never saw it) and being a former Aurora model builder myself, Monarch agreed that I had all of the requirements to be a part of the legacy of being a model box artist! A detail of the pencil sketch can be found inside my sketchbook, A Fistful Of Lead. My only direction was that the illustration should resemble a companion box for Aurora's Godzilla. I remember those glorious years building models as a young boy with. My favorites were, of course, Aurora's line of Famous Monsters with wonderful James Bama paintings that were just mesmerizing to me and all my friends and remain classics today. I'm sure those don't need any introduction. But, Monarch might. So, the news that I received is that Monarch will release Gorgo in time for Christmas this year! Check online or your favorite hobby dealer. My painting was originally commissioned and completed over 3 years ago. So, I have been just as anxious as any model collector to grab this off of the shelf. I'll be building mine with my sons!

From New Album 1/21/08 10:23 PM

Hey! Can you spot my Stella 7 painting gracing the wall in Wolowitz's bedroom? As a fan of the hit television Big Bang Theory, my family and I were thrilled to learn that there was a poster of her nicely displayed among Howard's Space Girl bedroom decor. There's a lot of really great artwork hanging on all of the sets. So, I am incredibly flattered that someone thought to include a poster that was promoting the comic book Space Doubles from Third World Studios a few years back. The painting was originally commissioned for the Chicago Fantastic Film Festival commemorative poster, featured in a Spectrum art annual and then as the cover for my first Sketchbook. But as my friend Steve Boyd commented: "You know you've made it big when your artwork makes the hallowed Walls of Howard Wolowitz." Thanks to Eric LeFaber for telling me about it before I saw it for myself.

Recently, I had an opportunity to paint one of the all time great detectives and one of my personal favorites in full blazing pulp tradition. My intention was that you hear the "crack" of the gun shots and put you in the middle of pulse pounding thrills. You can also hear all the gun shots and thrills on the Marlowe OTR radio programs. "The Adventures of Philip Marlowe" is now available from Radio Archives. If you are a fan of the Raymond Chandler's classic detective, you'll enjoy the restored old time radio programs that Radio Archives has available - with my illustration on the collections packaging. They are also offering 12 x 18 prints in their Pulp Book Store for those who must own one for their wall or collection. Visit www.RadioArchives.com and tell'em Klauba sent you!

I recently completed the promotional poster for the Wild Claw Theater's "Deathscribe" 2011. The "one night only" performance is right around the corner on December 5th. Deathscribe is an extraordinary evening of live performances of original short radio plays, written by horror enthusiasts and professionals from all around the globe. The thrill of watching skilled foley artists creating sound effects live, right in front of you, is truly like no other. With live musical accompaniment, exclusive radio commercials, special guest directors and a celebrity panel to judge the best in the fest, the festival is magical. Imagine "Prairie Home Companion" with horror. Website: http://www.wildclawtheatre.com/index.html
Designer/Artist/Art Director, Charlie Athanas of Wild Claw, asked me to illustrate this years poster and what you see here is pretty much what Charlie and I discussed.
Detail of pencil study:

Finished art:

Posters will be available at the Mayne Stage Theater in Chicago on the day of the show.

On the board right now is a cover for "Adventures of Philip Marlowe" and I'm listening to "Nightbeat" while I work. The stories keep me entertained and in the mood well into the night.

I've been a big fan of Edgar Rice Burroughs for almost forever. Like a lot of comic book readers in the 1970's I discovered Tarzan and John Carter from reading their DC and Marvel comics and then later on buried myself in some paperbacks. Much later on a found out about Billy Byrne, The Mucker, equally entertaining... But, I am really attached to the ERB universe of John Carter, Dejah Thoris, Tharks, White Apes, Mars... I think you get the idea. Painting and drawing the ERB John Carter/Mars characters have always been on my mind but I've always questioned, "where do I even begin"? There's a rich history of amazing illustrations bringing those stories to life by the likes of masters: Krenkel, Frazetta, Kaluta, Kubert, Buscema and Nebres. For many years I have been pretty content with just admiring those images. I'm not even going to begin discussing the upcoming Disney JOHN CARTER film... What you see here are my preliminaries and finished painting for the ERB Thrillogy cover from Pulp 2.0 Press. The challenge was to showcase the three books: A Princess of Mars, Tarzan of the Apes and The Mucker. Classic characters all on one painting.
Pencil sketch:

On the board with pencils and acrylics:

Finished:

Earlier this week I saw a color proof for my new piece from The Dialogue Project, which is a series of poems illustrated sequentially by a variety of artists and published as limited edition prints. I made a visit to the Transmission Atelier studio to check out the production and I have to say that I was incredibly impressed (again) at the quality that James Kay captures when capturing and printing artwork. At first glance I couldn't tell the original from the copy.

I've been excited about being a part of The Dialogue Project ever since the publisher, Cory Glaberson commissioned me to do "any poem" that I wanted! And I was equally thrilled that Robert Garcia was going to handle the design of the series as well as lettering the piece. "Orpheus" was finished in time for San Diego Comic-Con but the prints are just getting set to roll off the press. The publisher has told me that they will be available to order beginning September 30, 2011.

It all started with the poem from the play, "Henry VIII":

Orpheus with his lute made trees,
And the mountain tops that freeze,
Bow themselves, when he did sing.
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.

Everything that heard him play,
Even the billows of the sea,
Hung their heads, and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.

-William Shakespeare


My rough sketch as I had originally envisioned.
And while I ended up reworking this rough sketch, it really shows elements of what I wanted it to be and where I eventually ended up.

Blocking in the drawing on the board.
More sketching and influences of Pre-Raphaelite imagery and art nouveau emerged as I began gathering my reference.

And then on to Bob Garcia to be lettered:

(Not Final Version)
Other artist's in the series so far: Michael Zulli, Rick Geary, Mark Nelson and Howard Chaykin. I may be missing somebody...
So, for updates and ordering information please go to their website:
www.the dialogueproject.co

The first in a series of cover illustrations for Radio Archives is the classic detective, Johnny Dollar. The old time radio program, "Yours Truly Johnny Dollar" was no mystery to me! I've been a fan of the series for a number of years and it's one of my favorites. Along with music, I listen to a lot of OTR in my studio while working. So, it's very exciting for me to be involved with creating artwork for the Radio Archives collections. I really needed this cover to appeal to die hard fans of the show as well as for a possible new audience. After selecting a thumbnail concept, I developed a tight sketch for approval and then painted the finished art.






The collection is available in stores or directly from the Radio Archives website: www.radioarchives.com

For my painting STAR STRUCK, I grabbed a rough thumbnail that was sitting in my sketchbook and quickly developed a concept and design influenced by the black and white illustrations from artist Virgil Finlay. I admire Finlay’s imagination, design and craftsmanship, especially with the female form.

My space heroine is so awe struck (or star struck) by the alien world around her that she has innocently fallen into danger - and without a ray gun at her side! While working on the composition and my drawing, I started to think about dramatic and effective color. That’s when a palette reminiscent of pulp covers by Hubert Rogers seemed like a good choice to me. Rogers has a wonderful sensibility of his subject matter with an attachment to art deco. My color choice made the image more romantic and dream like, which set a nice mood against the ensuing danger. Pulp covers are full of excitement with dramatic colors, pretty dames, cool costumes and ugly monsters. My alien world draws our victim close enough to be dragged into an unknown world or… to her doom.



SKETCH: After roughing out a design and composition on paper based on my thumbnail, I gathered my photo references and spent time focusing on my star struck girl, designing her art deco space suit and dramatic lighting from the stars that surround her. I then transfer the drawing and develop a tighter drawing directly on the illustration board.

In the past, I enjoyed the process of working out very finished pencil drawings where I was solving all obstacles, putting all my thoughts down on paper and spending an average of 3 -5 hours working on studies before even thinking about painting. Recently, I have decided to spend more time working and drawing directly on the board. I gain more time against a deadline and enjoying the immediacy of painting.



ON THE BOARD: Working on a gessoed illustration board, I developed a detailed drawing using color pencils; light umber, terra cotta, indigo bl

I am painting a series of portraits of silent film starlets for an upcoming exhibition at Century Guild featuring Dave McKean, Gail Potocki and myself. My portraits will be appropriately black and white and will include: Brigitte Helm, Pola Negri, Lil Dagover, Theda Bara and more. There is an exhibition catalog planned. Please view this promotional video on Kickstarter for more information:

"Capture the essence of space pulp". That's the title given to the step by step feature written by me explaining the inspiration and process behind my new painting, "Starstruck". I owe a world of thanks to Ian Dean at ImagineFX magazine for contacting me back in October. I was able to pull a concept of mine out of my sketchbook and fine tune it to his needs and paint it for their upcoming Ultimate Guide To Sci-Fi Art issue. And now in the January 2011 issue sporting a TRON cover, there's a wonderful feature that is titled, "A-Z Of Sci-Fi Art". You'll find "Starstruck" under the letter "P" for Pulp on page 64. It's an incredible magazine filled with amazing images. As well as an interview with one of my favorite artists, Moebius. Run out and buy issue 65, available now. And check back later because I plan on posting the "director's cut" of my step by step process.

In issue 65:

Truth be told, I've never been a big Green Hornet fan. Growing up, I watched the television show from the 60's and one of my all time favorite Batman episodes from the 60's was the team up featuring Batman and Robin with The Green Hornet and Kato. I still love that episode - but that was it. Skipping ahead, I started listening to old time radio (OTR) episodes of the Green Hornet a few years ago. And- I enjoy them just as much as any crime detective OTR shows. Then Moonstone Books asked if I would do a cover for an upcoming publication featuring the Green Hornet and since I recently became a new GH fan, I finally decided to give it a shot. I started by looking through movie posters from the 1930's thru 1940's, and listening to the OTR shows for inspiration. The editor at Moonstone wanted a straightforward pulp art image, and focusing on that era, I wanted to do something that was instantly recognizable to the character.
I first worked on thumbnail sketches and decided on one I really liked.

And then developed a drawing to present to Moonstone Books for their cover:

Once approved, I transferred the drawing onto the board and jumped right in by blocking in the darks:

A dark and moody palette:

Something was missing - the finishing touch.... I soon realized I needed to make the car, Black Beauty, "come alive" by turning on the headlights.

Start the new year right and join us for the reception! Good time to make a commitment to take home some original art as well.
A huge "thank you" to my friend Tony Akins who invited me to exhibit among some super talented artists like: Alex Wald, Andrew Pepoy, Chris Burnham, Corinne Mucha, Hilary Barta, Heather McAdams, Jeffrey Brown, Jenny Frison, Jill Thompson, Tony Akins, Nicole Hollander, Mike Norton, Mitch O’Connell, Sarah Becan, Dave Dorman, Tim Seeley, Lucy Knisley, Gary Gianni, Bill Reinhold, Alyssa Herlocher & Steven Krakow.
StatiCCreep runs January 14 - February 6, 2011

It's that time of the year again! I will be in Artist Alley with my friends from General Jack Cosmo Productions at the Chicago Comic-Con presented by Wizard World. Please stop by my table (3110-3112) and say "hello". I'll tell you all about what I've been up to as well as showcasing my recent Sketchbook: A Fistful Of Lead. Plus, there is also an extremely limited edition introduction to "New Dreaming Men" created by me and writer Aaron Shaps (General Jack Cosmo, Zeroids, Phantom Detective). More on NDM later, but Aaron and I will be offering 100 signed and numbered copies of NDM with the first introductory prose story, and black and white character paintings all behind a brand new full color card stock cover. It's a rip roaring, all ages pulp adventure to be published by Olympian Publishing.

In between deadlines I've been able to experiment a bit with mediums and trying new things. It's come down to the images shown. I was able to use my new method of working on a few recent projects with nice results and nice compliments from the clients. I tried watercolor, then gouache and then ink. I wanted something immediate and I've been having great fun simply painting these spot illustrations. There are no preliminaries beyond a rough sketch. A quick, loose pencil drawing is placed on the board and then I paint in acrylics. These are just the beginning....

A recent addition to the Origins for Project Superpowers... Pyroman! I was not very familiar with the character. I really didn't connect with him in the PSP series as much as some of my favorites, aside from a cool looking costume design. But I was really inspired by the origin details, time period and a wonderful layout to work from. And with a busy month of deadlines, this was a nice project to focus on during the hectic work days. The final grey panels were converted to a green/blue hue in Photoshop. Please pick up issue #10 of Project Superpowers Chapter 2 to see the final printed piece!