Fastner&Larson: Originals

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We've added a page of color studies by Steve, and pencil drawings by Rich. If you enjoyed Tricks & Treats and/or Bed & Bondage, or know someone who does -- give it a gander.

All the originals on this page, and the first six originals on Originals page 2 are newly listed.

The originals on these first three pages are available for purchase directly from F&L.

Click on a thumb below for a larger image that includes size, medium and price info.

More detailed information about the purchasing process is available on our Shop page. Everything here is also available internationally, usually via Global Priority Mail.

We're not set up for Paypal or credit cards, so don't be shy about getting in touch regarding pieces you may be interested in. (We don't share contact info with anyone. Period.) We check our email a couple of times a day, usually get back to you within 24 hours, and we'll happily answer any questions you have:

shop@fastnerandlarson.com

Vat of Evil

Capricorn

Dead Reckoning

Pincers of Power (study)

Wallflowers

Lady Rawhide

ROM (study)

Spangled & Tangled

Sweet Captive

Planetnapped

Girl's Club

Stay a Spell

Planetnapped is a page in the immortal story, "Battlehookers of Klarn", which appeared in Little Black Book 3.

Girl's Club is the study for the Hell's Belles game box cover.

Stay A Spell is a color pencil study for a private commission.

Vat of Evil appears in our latest sketchbook, Bed & Bondage.

Capricorn is based on a private commission.

Dead Reckoning was reproduced in Little Black Book 1.

Pincers of Power is the study for a larger private commission.

Wallflowers was reproduced in Little Black Book 1.

Lady Rawhide (vs. North Star) was the cover for a Wizard 1/2 issue.

ROM is the study for a larger private commission.

Spangled & Tangled is the color pencil study for a grayscale painting, the digitally colored version of which is the back cover of Bed & Bondage.

Sweet Captive was done by Rich at the World Fantasy Convention in Madison, and appears (in grayscale) in Bed & Bondage.

If you're curious about the story behind other images on this or any of the other pages in our originals gallery, feel free to drop us a line. We'll give you a rundown on the publication history (if any), and try to remember what the hell we were thinking when we did the piece in question.

HOW WE WORK

Don't ask us why, but in the mid-90's there was a big market for B&W barbarian babe portfolios. We couldn't turn them out fast enough.

Steve realized that if he could lay in the flat tones on those paintings with grayscale markers (instead of frisketing the entire image and airbrushing them in), he could save time, effort and stomach lining.

But there was no way to get the necessary nice, even areas of marker tone (say, for a sky) on the art board we usually used for paintings--they streaked like crazy.

Photocopy paper, however, worked really well.

So--call him completely out of his mind--Steve developed a technique for doing finished airbrush paintings over xeroxes of Rich's pencils. We liked the results so much that we started to do color paintings using the same method.

And still do, especially for small pieces. (We immediately mount the finished painting on heavy stock, making it sturdy and permanent.) If our work has a certain look, this technique is a big reason. As far as we know, nobody else uses it.

(And you can't blame them, really.)