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Lil' Angels, Belling the Cat and
Dominion appear
in Bed & Bondage 2.
Hangin' Around
(v2) is a recreation of the painting by the same name published in
Tricks & Treats. It was done by Steve as part of a step-by-step
demo for the airbrush magazine Art Scene International.
Doom!
was originally a convention sketch.
Starfallen is based on
an old German bookplate; it appeared as a grayscale image in B&B 2.
The Fate of Girlies Lost in Dreams is the back cover for Bed &
Bondage 2.
The Devil's Bed is the cover
for Bed & Bondage 1.
Cradle
Robbers is reproduced in Little Black Book 3.
Satan's Cookbook appears in Bed & Bondage 2.
Room Service illustrates a
chapter in our Booker Prize winning Battlehookers of Klarn saga.
Faithful Companion is
our color study for a cover in Dark One's Water Wars series.
Turtle Fu is an inexplicably
gigantic painting (1992) for a card in one of the Topps TMNT collector
card sets.
Mother Lode is the color pencil
study for one of three paintings we did for SQP's Mermaid Song.
In the Sub-Basement in a
page in the story "Curiosity Box", which appeared in Little Black Book
3. Puppy!
Cauldron is
the color pencil study for the back cover of Tricks & Treats.
Bast in Heat is another
grayscale painting for Bed & Bondage 2.
Jungle Action is another
episode in the Battlehookers story. What will happen next?
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.) |
