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How did you get involved in sketch cards/What was your first sketch card job?A good friend of mine, Grant Gould, had seen my work and told me I should submit samples to Topps. After Topps had viewed my work I was asked to participate in the Indiana Jones Heritage Collection where I created 100 cards for the set. Is your educational background in art?Yes, I have a BFA in painting from the University of West Georgia.How do you feel about working on such a small surface?At first it was a challenge, due to working at such a large scale most of my life. But, after a couple of sets I got use to it and really enjoyed capturing the characters I admire on a different sized canvas. How do you feel about the entire process (deadlines, companies, etc.)?I enjoy the fact that sketch cards allow so much freedom for artists, even when there are specific movies to work with, you get draw whatever you want from within the parameters of the subject. For what editors expect from artists, the deadlines are more than reasonable.Do you prefer to work with a specific media?I use colored pencil for all of my work including sketchcards. Occasionally I will lay down a light wash before beginning the initial drawing to set the mood I wish to portray.Do you have a lot of contact with collectors regarding your cards?A decent amount, since my portfolio is not dedicated to sketch cards like others, my clients are a bit different due to wanting art at a larger scale. But here lately it seems I'm doing more private commissions at the smaller sizes. Has your career as an artist benefited from doing sketch card work?Definitely, the exposure an artist gets from sketch cards is great.
What was the most difficult sketch card set you have worked on to date? What made it difficult?When taking on Indiana Jones Masterpieces, I had already worked on two previous Indy sets. So changing up the art and making it more diverse was a challenge. However, I found references I hadn't used in the previous sets and went from there contributing 9 full color pieces to the set.Are there any cards that you are particularly proud of?Funny story- Topps lost my return cards from Indiana Jones Heritage, so they mailed me 6 blank cards to create art on. I did 3 commission pieces and 3 personal pieces. I believe the art came out of higher quality due to having no deadline.Some companies provide return cards or artist proof cards for working on sketch card sets. What do you do with yours?I always sell my returns.Do you see yourself continuing with sketch card sets?Definitely, I enjoy creating art based on the subjects I've admired my entire life.Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?Create a portfolio that shows only your best work. Just because sketch cards are "sketches" doesn't mean that a portfolio of sketches will get your foot in the door. Never compare the pay rate of sketch cards to the work you produce. No one is forcing you to do the work, so if you take the plunge make it worth the while for yourself and collectors. Think of sketch cards as a great source of advertisement for yourself as an artist.Can you tell us what future sketch card sets you'll be working on?I'm currently working on The Empire Strikes Back 3D set, celebrating the 30th anniversary of the Empire.What are you currently working on?I've just completed some sample work for Acme Archives, as well as some new work based on the Underworld series.Where can people see more of your work?My official site www.bencurtisjones.com, also my deviant page www.bencurtis.deviantart.comThank you so much for your time, Ben!!
Had you always planned to move into comic books once you'd been doing sketch card sets on a regular basis?
No, not at all. But, we didn't anticipate our products selling out so quickly, in most cases strictly based on pre-orders. So, the comics are another way to offer the sketch cards. For instance, people have been clamoring for another Zombies vs Cheerleaders sketch card series, but we were not ready to go back to that well so quickly. We figured producing comics and offering new ZvC sketch cards as an incentive was a cool idea. So, for every certain number of copies one orders from 5FINITY directly, you get a sketch card. These sketch cards will be exclusive to each issue and they will all have different designs to set them apart. We plan on offering this incentive on other books, too, such as Moonstone's upcoming Honey West title.
Can you say if the partnership with Moonstone books is ongoing? Will there be more comics based off of the 5FINITY brand: 5FUNITY?
It is. We had a lot of success with our Moonstone Maximum series, featuring The Phantom, Zorro, Domino Lady, Kolchak, and others, and Moonstone is publishing our ZvC title, so it is a good partnership. We might do more comics based on upcoming 5FUNity (our licensed properties) products.
Are there more Zombies vs Cheerleaders books in the works? Can you go into detail about them?
Yes, the book is a bi-monthly title. It is an anthology book, so different writers and artists will be working on it. The stories will be eclectic, but each will feature zombies and cheerleaders. There will be 3-5 variant covers per issue and each issue will have a sketch friendly back cover so fans can get work done on the back at shows and so forth. Writers such as Rich Koslowski and Brandon Jerwa are contributing, as well as artists like Rich Bonk, Ben Glendenning and Mark Bloodworth. Oh, and that Jess Hickman lady.
You're the writer for issue 1. Will you be doing more comic writing in the future?
I think I will have at least one story in every issue. But, we want to mix it up and get as many writers and artists on here as possible.
Will you continue with 5FINITY card sets?
Yes, of course, that is our main objective. We have a great line-up of projects coming down the pike. Dead@17 and another Mandy series this spring and The Pro this summer. One dealer was relaying to me a story of how a buyer wanted a card from a particular artist this dealer had. This collector bought this artist's cards religiously and spared no expense, but balked at buying one of this artist's Voltron sketch cards (just released) because it is a fringe product. We like fringe. That is why we started. The big guys are not going to produce cards for some of these great indie comics or retro cartoons. We will. We're fans first and foremost. By the way, the guy bought the card and the dealer didn't give it away cheap.
Will we see 5FINITY at comic and trading card conventions in the future?
Not likely, only because we don't usually have product to hawk. We offer limited quantites and we have been blessed to sell out in a timely manner. But, we will be at this year's Crypticon in Seattle this summer giving out copies of the ZvC comic because our favorite comic shop is sponsoring it and it is a local show for us. I like to go to the shows and meet the artists and find new talent. I'd rather go as a fan than as a business person.
You have a lot of very talented artists working with your sketch card sets. Would you be open to collaborating with some of them in the future on specific sketch card properties (yours or theirs), and possibly turning those into comic properties?
We are open to a lot of things, as long as they make sense for the market.
How did you get involved in sketch cards/What was your first sketch card job?
My very first sketch card project was for the first Topps' Star Wars Clone Wars set in 2004 based on the animated micro-series for Cartoon Network. I heard about the project through Steve Sansweet at Lucasfilm who suggested I should contact Topps since they were looking for more artists to provide sketch cards for the set. My pal and fellow Star Wars sketch card artist Justin Chung and I had been doing our own personal sketch cards for fans and collectors since 2002 at comic book conventions so I was familiar with what sketch cards were already and was excited to be a part of the first very Star Wars set. They were only hiring Dark Horse Comics artists for it and at the time I hadn't yet worked for them, so I believe I was the only or one of the few non-Dark Horse artists providing sketch cards for that product.
Do you have an educational background in art?
I had early training in private art lessons since I was about eight years old. And throughout grade school and high school I took Saturday program art classes at various art institutes in Indiana where I grew up. I graduated with a Bachelor's degree in Illustration from the Columbus College of Art and Design in Ohio and a few years later actually went on to teach classes there as an instructor for about ten years. I also taught a Summer art course at the Ohio State University. Even as an instructor I was still learning from my students there and refining my own work too.
How do you feel about working on such a small surface?
I'm usually drawing on 11" x 17" surfaces for my comic book covers, pages and other illustrations but I tend to stick with portraits for my sketch cards so it's not really too much of a challenge for me. I'm used to drawing character heads at that size or even smaller in my comic book work and the sketch cards feel like comic book panels to me. I've been working on sketch cards for almost eight years now anyway so I'm really accustomed to it and enjoy the change of my pace it gives me from my usual larger illustration work.
As a comic and cover artist are there simliarities to how you approach a sketch card versus your comic work? Differences?
Since my comic art is completed in full color digitally with a computer I use more traditional techniques for my sketch cards like color pencil, markers, acrylics, watercolor and ink. Though everything I draw for any illustration project always begins with penciling, it just depends on what traditional technique I might be trying to accomplish for my cards at that time. I feel really fortunate that I had training in traditional mediums growing up as an artist and that I was also lucky to have training in digital illustration with computer programs before I graduated from art college. It's made me more more flexible as a creator and I'm able to switch gears in styles fluidly without banging my head against a wall too often.
How do you feel about the entire process?
Usually the deadlines with sketch cards are reasonable and most of the companies I worked with are professional so I feel good about the sketch card industry as a viable entertainment medium as a whole. I don't get involved with too many publishers or projects outside of Topps normally but if the content of the product isn't something I'm interested in or a fan of, or if the pay rate, benefits of the after market or professionalism of the company doesn't entice me I usually respectfully decline an offer to participate. It could be a number of factors like my own schedule, work load and current deadlines with other publishers too that prohibit me from getting involved with a particular project.
Do you prefer to work with a specific media?
In regards to sketch cards I usually always use pencil then I might possibly use inks, greyscale markers, and a white color pencil for my black and white sketches. For my full color sketch cards I use a variety of acrylics, markers, water colors and color pencils. I especially love using my Copic markers with my watercolors but I use a lot of Prismacolor markers for my base tone rendering too since they're a little more affordable.
Do you have a lot of contact with collectors regarding your cards?
There are handful of collectors who have been regularly supporting my work over the years I try to stay in touch with on a regular basis by email or phone or at conventions. Because of my work in this industry a few of them have actually become good friends of mine over the years who I just enjoy chatting with about the hobby or other things outside of sketch cards too like movies, comics, careers, family and so on.
Have you had any bad experiences with collectors?
I really haven't had any experiences too awful worth mentioning. I've had a few flakey collectors of course like everyone else but it comes with the territory as a professional comic book or sketch card artist.
Bad experiences with companies?
I've been lucky enough to avoid any turmoil in recent years with career. There's occasional road bumps for smaller sketch card publishers here and there that I've discovered or heard about though. But after getting badly burned in the entertainment publishing early on in my career I've learned to do my research first, ask questions, make phone calls, talk with other artists online, go to conventions and meet publishers and editors, etc. before I sign on with any company.
How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I think the initial idea of "sketch" cards got corrupted along the way years back and amateur and up and coming artists used them as a platform to showcase their best work for a license and make a big splash in the industry for very little pay. But like I mentioned before, it's really no different than when I was trying to break into comic books years ago getting paid very little or nothing at all just to get published. I was never doing it for the money, I was drawing those comic books to further my career and build my portfolio and I felt incredibly lucky getting paid anything at all to do what I love for a living. That was at the very beginning of my career though and I needed to make those sacrifices to get my work out there, sharpen my skills, learn how to be a professional and get other publishers attention.
Though I still feel lucky and excited to work on some of these sketch card projects for licenses that are close to my heart the need to do them and the pressure to perform isn't quite the same as when I was starting out. I may have less to prove overall but I still need to prove myself every time I pick up the pencil nonetheless with every project otherwise there's no point in contributing.
If other artists are going to continue to raise the bar on what qualifies as a sketch card and keep upping the expectations of collectors as a whole then I'll keep working smart, but not overdo it, to keep up with those expectations. If I'm not having fun pouring my heart into my cards and if the collectors aren't enjoying them and their expectations aren't being met personally from me then there's no point in contributing and I'll move on. I can really only worry about representing myself in this industry and what works for me specifically. I can't speak for every sketch card artist on whether enough detail is enough or if collectors are out of line expecting more and more details. It's always been a matter of quality and personal taste among artists and collectors alike anyway.
But if artists are willing to meet certain collector expectations and have the time and resources to break their back making mini-masterpieces for each and every card only to be paid peanuts but reap the rewards in acclaim or selling their after markets for big bucks later then more power to everyone. This industry has really taken on a life of its own and has carved out a really interesting niche in the entertainment illustration market. It's been fun and kind of exciting to watch it grow and be involved with it from early on. There's been a lot of ups and downs as the collector's market fluctuates but I'm just doing my best to keep up producing my own best work with all the amazing art by so many incredibly talented artists out there.
Has your career as an artist benefited from doing sketch card work?
I'd have to say definitely yes. I take pride and put my best effort into every single project I take on, no matter what the pay rate might be, even something that might seem as small and as insignificant to another artist as a sketch card project. Everything I do, everything I draw that gets published or put into a collector's or a fan's own hands represents me and what I got into illustration and comic books for in the first place. By doing really solid, consistent work on sketch cards over the years I've gained extra attention and support from new fans and publishers for my other illustration work as well. I'm definitely not doing it for the immediate gratification of the paycheck. The benefits from being involved in sketch cards for me have always been a longer term or bigger goal. So it just doesn't make sense to me to get involved in a project and not put forth enough time or effort to create enjoyable work for fans and collectors. I also feel grateful for the opportunities sketch cards have allowed me to illustrate for some of my favorite films, comics and characters over the years too. Sometimes it's the content of the sketch card project that I find really exciting and inspiring that's pushed me to elevate or experiment in my work which helped me grow or keep sharp as an artist.
What was the most difficult sketch card set you have worked on to date? What made it difficult?
One of the more difficult ones I worked on recently was for the Doctor WHO Big Screen Additions Mono set last year. I enjoyed working with the characters and as an old school Hammer horror film fan I really enjoyed drawing Peter Cushing too but the glossy, poster board type surface made for rendering in my usual traditional techniques difficult. Plus, I just didn't have the time in my schedule to change up my style or experiment to make it work for the material of the card stock but I did decent enough with the project and still had fun with it.
Are there any cards that you are particularly proud of?
Some of the cards I had the most fun with were the Indiana Jones artist sketch cards for Topps. I'm a HUGE Indy fan so I put a lot of pride and hard work into my cards for those sets for myself just as much as I did for the fans. I've been illustrating Star Wars for Lucasfilm since 1996, that's always been my first love, but finally getting to illustrate for Indiana Jones was another dream come true. My favorite Star Wars set I've illustrated for was probably for Topps' Star Wars Thirtieth Anniversary set. All of the artwork was based on the first film, Episode IV, and that film is really special to me. It's what inspired me to become an artist in the first place when I was a little boy. I really wanted to do my best work possible for myself and the fans in particular for that set and I'm really proud of my full color cards for it too.
I'm also really proud of the work I did for the Star Wars: Clone Wars Season One Widevision artist sketch cards. I illustrated over 100 cards and nearly broke my back on them making sure each and every card looked as solid and consistent style and technique-wise as the next one. It was real feat given the deadline and the larger widevision format, but I'm such a big fan of the new Clone Wars cartoon that it really was a labor of love for me too. I finally felt validated when I was able to show some of my cards to supervising director and series creator Dave Filoni at Star Wars Fan Days III in Texas last October and he seemed to be really impressed with them. It made all the hard work worth it then.
Some companies provide return cards/artist proofs for working on sketch card sets. What do you do with yours?
I usually sell them privately to collectors or offer them for sale online. I never keep any of mine. I'm too mercenary, i.e. self employed, to become too attached to my original artwork. Since the pay rate up front is usually pretty low for my pack inserted cards that I send back to the publisher it's my after market sketch cards I'm allowed to keep and sell where I'm usually reimbursed for my work and effort on any particular set. It's not always an immediate reward process for my return cards, sometimes it might be weeks, months or years down the road before I sell them or make enough money back from them as a whole to justify the work I initially put into the project but sketch cards as a project are an investment to me as an artist just like they are to the collectors who spend their money on them to enjoy them.
Do you see yourself continuing with sketch card sets?
Sure, I'm always having fun with them and I like that sketch cards allow me flex my traditional illustration skills and keep those techniques sharp since I do a lot of digital work too. As long the market doesn't dry up, implode, become too completely overly saturated or a passing fad and as long as there are plenty of fun projects and licenses for me to contribute to that inspire me I'll continue with sketch cards as long as the industry and the fans embrace my work.
Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
I think the allure for most artists trying to break into the industry is to be able to draw for a property they love or enjoy as a fan, to have that feather in their cap and that published credit under their belt which would hopefully open the door for bigger and greater artistic opportunities down the road. That should be the real goal for everyone unless as an artist you're happy with your regular job and just enjoy dabbling as a creator in the sketch card industry.
Obviously, the pay for sketch cards in general from almost every publisher is really poor but I think as an artist if you're only getting into the industry for the money and you're producing numerous poorly drawn sketches at a high volume for that larger payout from the publisher then you're missing the idea altogether and not advancing your career properly. I'm not sure if too many artists do that initially, it's sometimes more of consequence or a path for some artists after already having been published in sketch cards.
I think that every sketch represents you and you should put yourselves in the shoes of a fan or a collector. Every time you finish a sketch you might want to ask yourself would you be satisfied as a fan if you pulled one of your drawings from a pack of cards? This doesn't mean that every sketch has to be a masterpiece either but there are longer term benefits professionally and financially if you're willing to take a chance and at least do consistent, solid work across the board on all your cards for fans and collectors.
Sketch cards benefited me because I already had an established career as an illustator for years to begin with though. In most cases you have to really pay your dues as an artist in other areas of illustration too, be it comic books, magazines, film, trading cards, whatever before you can make a living drawing sketch cards. I think it would be harder as an amateur or a beginning professional artist to carve a solid career for yourself just starting out from sketch cards alone but... you also have to start somewhere too. It's really no different then when I was drawing for independent comic books years ago while I was still in college. I wasn't doing it for the money, which was very little to sometimes nothing. I was doing it get published, to cut my teeth in the industry as a professional and sharpen my artistic skills doing what I love and getting published brought attention to my work and gave me better opportunities I could keep building off of over the years to an eventually better, professional career.
As an artist you would eventually need to seek out publishers, licensees and companies that will provide you with more opportunities to create different kinds of artwork to sensibly supplement a career in sketch cards. Like I said, the initial pay rate might be poor but if you're resourceful there are other rewards to benefit from for your career and in the collector's market by contributing in this industry if you put your best professional looking work out there.
Can you tell us what future sketch card sets you'll be working on?
I just wrapped up my sketch cards for Topps' Star Wars Galaxy Five which will be released this February and I'm hoping to illustrate for more upcoming Star Wars sets that Topps has in the works for The Empire Strikes Back Thirtieth Anniversary and Galaxy Six. I also completed three new base card illustrations of Rebellion and Republic era propaganda posters with my collaborator and fellow Star Wars artist Brian Miller for Galaxy Five as part of a subset with artist Cliff Chiang who illustrated Imperial versions.
The artwork for my series were inspired by World War II and European war propaganda art of the era. These three posters (along with three other sketches) were originally concepts I created as potential poster art for Star Wars Celebration Europe a few years back to be sold in the convention store there. Unfortunately, it didn't pan out at the last minute but the art for these were resurrected and completed for Galaxy 5. I hope everyone enjoys them since they were so fun for me and Brian to work on.
We also created the artwork for the six part, etched foil card puzzle for this set like the one we previously created for Galaxy Four. That was another dream project for me since I got to follow in the footsteps of previous Star Wars artists Walter Simonson and Jan Duursema who were very big inspirations for me in my formative years as a comic book illustrator. This new etched foil artwork focuses entirely on The Empire Strikes Back to commemorate the thirtieth anniversary of the film which is unlike the previous foil art I designed for Galaxy Four which encompassed all six films of the saga in one design. Brian and I really tried to outdo ourselves for the Galaxy Five etched foil artwork though so I crammed everything I loved about Empire into this new puzzle without hampering the flow and balance of the design as much as possible. There were a few iconic elements I wish I had room to include in the design like the Imperial walkers but overall I'm really happy with it and hope the fans and collectors really enjoy it too.
What are you currently working on?
Currently, I'm providing cover art IDW Publishing's G.I. Joe: Operation HISS comic book series along with Star Trek: The Next Generation: Ghosts series which are on sale right now. I'm also the regular cover artist for BOOM! Studios ongoing Farscape comic book series. I'm really having fun with those covers since I've been a big fan of the show itself when it was on the Sci-Fi Channel. I'm working on some new print artwork concepts as well for The Empire Strikes Back that I'll hopefully be able to unveil at Celebration 5 or before the event later this year.
Where can people see more of your work?
All of my latest artwork can be viewed at my official website, http://www.joecorroney.com/, which is updated regularly. I can also be contacted there for original art and print sales along with commission requests. I also have online portfolios available for fans and friends to view at my myspace and facebook profiles, www.myspace.com/drawingintheempire and www.facebook.com/joecorroney, which are updated regularly as well.
I cannot thank you enough for participating, Joe! Thank you so much!
How did you get involved in sketch cards/What was your first sketch card job?
At my friend Monte Moore's urging, I submitted some samples to Topps for the Revenge of the Sith sketch card set as they were looking for more artitsts. I never heard back from them, but, oddly, later I was approached about doing the Lord of the Rings Evolution set. That was my first foray, and was a real lesson in pain an misery as I tried to get accustomed to working on a small surface as well as trying to generate a useful style for the type of work.
Do you have an educational background in art?
None. I have been drawing since I was a toddler, according to my mother. I have been working as a professional illustrator for the past 17 years, honing my skills. I have had the fortune of being around some very talented artists and gleaning whatever I could from them.
How do you feel about working on such a small surface?
I think it's challenging, but the forced "frame" of the card lends itself to great compostion, especially for portraits.
How do you feel about the entire process?
I have had a great time with all the companies I've had the fortune to work with. The editors have been very forgiving and helpful. I don't feel that any project has had an unmanageable deadline; I've just fallen prey to overcommitting myself (at home, art projects, and my day job).
Do you have a preferred method of working on the cards?
I start every card in pencil, and depending on the set, how many cards, and the look I'm aiming for, many cards stay pencil only. I have fallen in love with Copic markers, and have done numerous sets where many card have been grayscale marker over pencil. If time permits, or a certain card seems to demand it, I then color with marker and some colored pencil over the grayscale. I think I really hit my stride on Lord of the Rings Masterpieces.
Do you have a lot of contact with collectors regarding your cards?
There are some collectors who I interact with regularly. Most of my artist return cards and commissioned work seem to go to a core group of people.
How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I think it's a collector's prerogative what they want to have/collect. I think to make it their expectation is a little naive. I would even toss out the argument of what the artist is paid (although many of my peers use the defense); the truth is, the better argument boils down to what the artist is contracted to deliver. Some sets call for just a sketch, others call for full color, others demand one character per card, others specify no scenery shots, etc. The product is what the card company asks for. If I choose to deliver more, that is my choice. Because some of us are a (little) competitive, I think that's what opened the floodgates on high quality, intensively worked cards getting pack inserted. If collectors choose to fight over those little gems, they can. There are a few artists out there whose simple sketches are superior to my full-color works...
Have you had any bad experiences with collectors?
Quite the contrary. The collectors have been grand. I'm surprised that they still like me. When people commission things from me I really want it to be special, regardless of how little or how much they spend, so oftentimes I take longer than I would like to ensure that the work they receive shines. I do attempt to stay in touch as much as possible to make sure they know they're not forgotten.
Bad experiences with companies?
Never. The companies have always treated me well.
Has your career as an artist benefited from doing sketch card work?
Up until LotR Evolution, I worked in virtual anonymity. My career in art as well as my skill level have benefitted wildly from the sketch card world. Certainly this was a great way for me to get involved with a number of properties that I could only have dreamed of working on.
What was the most difficult sketch card set you have worked on to date?
The Spider-Man archives set for Rittenhouse was the most chellenging as I was trying to find a new way to do cards, and I really wanted the cards to look like fine art, still comic book art, but fine art nonetheless.
Are there any cards that you are particularly proud of?
On every set, I have had some stand-out cards. Some sets seem to be much stronger than others (wish I knew why so I could tap into that every time), but I think the cards I felt were my best were the rogues' gallery of Spider-Man villains I did for the Rittenhouse set.
Some companies provide return cards for working on sketch card sets. Do you keep any of the cards returned to you?
I always entertain selling the cards. When I was younger, I hoarded my original work. Thanks to scanning and storing, I have no problem parting with the returns... although there've been a few I really wanted to hold onto as I loved just looking at them, until I realized I was petting them and calling them 'Precious.' That's when I knew it was time to find a buyer.
Do you see yourself continuing with sketch card sets?
Yes. The sketchcard community is very familial. I enjoy the work, and I enjoy the interaction with collectors and other artists. That's what keeps me going.
Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
That's tough. I think my greatest advice is that you work very hard to be competent at your craft; always practice, always assume there's room to improve. Understand that you need to get good before you decide on a "style." Too often, the comment I hear from people whose work is rejected is that the editor didn't understand their "style." I have been at this long enough to know the difference between actual talent and style. "Style", unfortunately, is the crutch term for underdeveloped artists. You cannot develop a style until you understand what you're doing, right and/or wrong. Many new artists dive into the medium by emulating the styles of artists they admire without ever buidling a foundational skill first. Believe it or not, the lack of development is completely visible to skilled artists and especially editors.
Can you tell us what future sketch card sets you'll be working on?
Presently, I'm taking a brief hiatus to get caught up on commission work and a few personal projects that may otherwise never see the light of day if I'm perpetually caught in deadlines.
What are you currently working on?
I have two comic book related projects I'm working on. One for a brilliant writer who has trusted me with a unique and clever project. Thus far it's just the first eight pages, to use as submissions for several companies each of us has worked with in the past. The other project is a very personal one, a comic book based on my own material. There are some interested parties, so I'm excited to see where it goes.
Where can people see more of your work?
http://www.scribbleandscratch.com/ and http://gph-artist.deviantart.com/ I have to apologize for my web site in advance. There's a lot of older material there to see, but my brother and I don't update it often enough. Deviant Art is easy to keep plugging new work, so I spend more time there. Also, for those interested, the comic my brother and I submitted to Zuda, "Joe Comics" is still up on their site: http://www.zudacomics.com/node/272
One day, Joe may live again. I'll let you know.
Thank you for your time, Gabe!!
How did you get involved in sketch cards/What was your first sketch card job?
My first sketch card job was for Topps on the Star Wars: Heritage project. I think I did, like 200 cards.
How do you feel about working on such a small surface?
I'm not crazy about working on such a small surface. For one thing, my eyes aren't what they used to be, and it's seriously hard for me to see that tiny! Additionally, I work fairly tightly, but still like to see evidence of the process - brushstrokes, pencil marks, etc - and I've found that when I'm working that small, it can be difficult to achieve both of those goals.
How do you feel about the entire process?
Although I've been approached by the other companies, I've limited myself to working for Topps, I guess for no real reason other than time constraints and familiarity. For me, working on sketch cards is a good way to sort of "cleanse my pallet" between projects, and I try to fit in one or two a day. When the deadlines are short, that can be a problem, particularly since I've never missed a deadline (which is a point of pride with me). That being the case, I've definitely spent some late nights working on sketch cards, listening to music and keeping an eye out for my studio ghost.
Do you have a lot of contact with collectors regarding your cards?
I think so. I feel very lucky that there are so many people who appreciate my work, and I'd be the first to admit that I should show MY appreciation for THEM by doing a much better job of returning emails and responding to personal messages.
How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I know this is a touchy issue. This is my point of view: I want fans to be excited when they pull one of my cards from the package. I want the piece they pull to be recognizable as my work, and I want to know that I did my best on it. If I can't meet those goals, then I don't want to do sketch cards. I know there's an issue with pay, and I know that I'm lucky enough to be in a position where with my returns I can make back in money some of the time I spent working on the cards. However, I'm confident that if I were in a different place in the sketch card/illustration timeline, and was just beginning my career, my philosophy would be the same. I think that if you always do your best, and if you always do what you love, you will eventually be rewarded.
Has your career as an artist benefited from doing sketch card work?
I think, particularly in this economic climate, that anytime an artist gets paid for doing work that he or she loves, one's career is benefited. I'm not sure, though, that my sketch card work has led to other, more profitable jobs.
What was the most difficult sketch card set you have worked on to date?
Each set has presented its own challenges, particularly as I began to spend more and more time on each card. I did a LOTR set where, because I was spending a couple of hours or more on each image, and because I was backlogged with other work, I was only able to complete somewhere around 10 cards. I wasn't happy with that, because it obviously limited the images available to collectors, and it was after that series that I began to think about changing my approach.
Can you go into more detail about how you approach your cards in terms of artwork/media and art style? Do you approach each sketch card set differently?
Currently my approach with regard to sketch cards is to try something a little different every time. I've played around with ink, watercolor, hand-colored, manipulated photocopies, colored pencil, rubber-stamping, laser-cutting, gold-leafing - pretty much anything and everything that occurs to me. Sometimes, I play around in a method similar to that used by whichever artist or movement appeals to me at the moment (the hand-colored photocopies I did on Galaxy 4 are an example of this. I was thinking about Pop Art, and the idea of mass production as original art.); other times I try out an idea I've sort of had simmering in the back of my mind for awhile (The rubber stamping I did on the 30th anniversary set, for instance, or gold-leaf stuff on Galaxy 5). In addition to the gold-leafing, I'm also trying something else on Galaxy 5 that I think is completely new in the sketch card world: Performance Art. (Stay tuned for details). Ultimately, while the goal is always to have a finished piece of which I'm not ashamed, these days it's also about the journey.
You did a series of foil cards for Topps, correct? Can you explain what those are exactly and how you went about them?
The foil cards I did for Galaxy 4 were simply pencil images that Topps processed. I'm not sure of the procedure, only that it's important that the image have contrast. This was also what I kept in mind when creating the foil puzzle for the LOTR (was it Masterpieces?) series - Color and contrast.
You have done base cards as well, right? What exactly are those - for anyone who is not sure - and do you approach those differently than 'regular' sketch cards?
Base cards are simply painted illustrations that are printed and included in the set as "commons". Although in each instance, I've been allowed to come up with the concept, the base cards are much more art-directed than sketch-cards, and are usually approved three times: At concept, initial sketch, and final painting.
Are there any cards that you are particularly proud of?
I'm extremely proud of the two Joseph Campbell based sets I did for Galaxy's 3 and 4. In each of those instances, I both wrote and illustrated the cards and tried to talk a little bit about what it is that makes Star Wars so special to so many of us. I won't take the time or space here to talk about it, but here's a link that provides a little more information: http://russellwalks.com/aboutwalksfull.html
There's an interesting story behind the Galaxy 3 set: After pitching the idea of exploring The Hero's Journey to Topps and getting approval to begin work, I got a call saying that Lucasfilm had pulled the plug, and that they had decided against exploring the Campbell/Star Wars connection in a series of trading cards. I wrote George Lucas a letter and tried to explain why I thought talking about That connection was important; I talked about how Star Wars had changed my childhood, and how discovering Joseph Campbell had changed my adulthood. I included a painting I'd done of my 6 year-old son as a young Jedi, and basically asked him to reconsider. He did, and I got a phone call from LFL telling me so, and complimenting me on the painting. Cool denouement: Not only did my son get a GIGANTIC box of Star Wars toys from Lucasfilm for Christmas (from the wonderful Julia Russo and amazing Stacy Cheregotis) he was asked to audition for the part of Anakin. That was pretty cool...
Some companies provide return cards for working on sketch card sets. Do you keep any of the cards returned to you? What are you planning to do with them?
While I'd like to keep my returns, financially, it doesn't make sense. I put so much time and effort into every one of my cards that it's just not feasible to hang onto the limited number of returns I'm allowed.
Do you see yourself continuing with sketch card sets?
I think I'll always be able to fit the occasional sketch card series into my schedule, particularly if the subject matter interests me.
Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
Draw everyday, and only send out your best samples - Remember, it's NOT enough to able to draw better than the worst cards out there, you have to be able to consistently draw as well as, or better than, the best.
Can you tell us what future sketch card sets you'll be working on?
None on the burner right now.
What are you currently working on?
I'm currently working on a couple of secret Star Wars related projects that will come to light this summer. Also a screenplay with a writing partner, a children's book, and a few personal things.
Where can people see more of your work?
There's always my website: russellwalks.com
Thank you so much for your time, Russell!
Do you have an educational background in art?
Nothing special, just a few life drawing classes at community college.
How did you get involved in sketch cards?
I first started doing sketchcards at conventions years ago as an affordable alternative to full size drawings. Also so I'd have something to give away to the kids.
How do you feel about working on such a small surface?
It suits me just fine. I've always done the majority of my drawing on typing/printer paper so I'm used to working smaller.
How do you feel about the entire process?
I think that as a whole it's great. Although I think we all deserve better rates. If we did this kind of work in any other field we would be paid accordingly like any other professional.
Do you prefer to work with a specific media?
In these days when most of the work I do is on the computer it's nice to get back to the "real" tools sometimes. I like to use watercolors and colored pencil sometimes but mostly I use pencil, airbrush, marker or pen and copic markers. The copic markers are so much better than the prismacolor that I used growing up! In my opinion at least.
Do you have a lot of contact with collectors regarding your cards?
No..er, for the most part. I'm not a real talkie kinda guy. This may come as a shock to some people but many artists are introverted!
How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I wonder if those collectors know that we get paid almost nothing per card. I would say if they really want more than they are getting they should contact the artist and ask about commissions. Or gripe to the card companies, tell them to pay us more. We can't do that of course! I doubt it would work though.
Have you had any bad experiences with collectors?
All the collectors I've met have been fine. Did I just jinx myself?
Bad experiences with companies?
Nothing bad with any companies. People sometimes, but they come and go.
Has your career as an artist benefited from doing sketch card work?
I think it gives you some credibility. I've been doing work in the comic industry for over ten years and only in the past couple have been doing pro sketchcards. I can't really say I've noticed a difference.
What was the most difficult sketch card set you have worked on to date? What made it difficult?
Well I can tell you the most recent was Lord of the Rings Masterpieces II set. I did 100 cards and then another 30 to help fill out the series. I enjoyed it immensely and it was a great excuse to buy the deluxe editions of the movies. I had no deadline problems although I think it was the only project I had at the time.
Are there any cards that you are particularly proud of?
Some of the Gollum cards came out great and a couple Arwyns. I've still got all the cards I was allowed to keep from that set actually. I might be persuaded to sell them sometime. But I have no plans to at the moment.
Some companies provide return cards for working on sketch card sets. What do you do with yours?
Oops! I think I just answered that :P
Would you like to work on more sketch card sets?
Yes I would. My plate is pretty full right now though. It sure is fun though. I'd love to work on some Star Wars. Maybe when I'm not so busy.
Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
The best advice I can give is draw, a lot. Go to conventions, talk to folks there that do this kind of work. It's pretty easy these days to get ahold of almost anyone online. Also have perseverance. Most of the people in the industry I have ever known gave up. It's not always easy and fun. Some of them were brilliant artists too, it's a shame.
What are you currently working on?
It's funny, I'm working on several projects I can't talk about! What I can say though is that it's comic work and it is easily the best work I've done to this date.
Where can people see more of your work?
I have quite a lot of art in the new book "Master Digital Color: Styles Tools Techniques" It's the sequel to "Hi-Fi Color For Comics" I got to do many different kinds of pieces from straight up Manga to Disney-ish Princess type..oh and a kick ass Mech! written by my good friends Brian and Kristy Miller. It is easily the best book on digital coloring. Everyone can see my coloring work often in DC and Marvel etc. under the HI-Fi Color banner. And my blog of course, which I don't update often enough but..well there it is. http://davebryantgo.blogspot.com/
Thank you so much, Dave!!
Hello everyone! Come join us at the Holiday Inn in Carol Stream,IL. Just 4 miles west of I-355 Expressway off North Ave. for another exciting day of Nonsport & entertainment trading cards. This year for the spring fling, we are teaming up with the folks at Toycon Toy Shows, as they will simultaneously run an action figure show at the same hotel. TWO conventions - ONE LOW PRICE. Only $ 3.00 per person. Currently, the artists attending the spring fling are : Mark McHaley Corbett Vanoni Darla Ecklund We are currently looking for a small handful of others to join us. If you wish to participate at this show, please drop me an email, cecexpo@gmail.com Also accepting reservations for the 10th Anniversary Expo, Sept 9-12, 2010. When replying, please note which show you are interested in. Dealers, get your reservations in now, as space is going quickly! Thanks a million and see you all there! Paul
Do you have an educational background in art or are you self taught?
Being white, lower middle class, and kind of a dope, I could not get into college. I'm self-taught.
How did you get involved in sketch cards/What was your first sketch card job?
Allison Sohn got me to try doing them. My first job was for the STAR WARS 30th Anniversay set.
How do you feel about working on such a small surface?
It's no different than doing a panel from a comic-book page, which is my regular job. A 9-panel page has panels the same size as trading cards.
How do you feel about the entire process? Is it similar to working in the comic industry?
It's very similar. "You need to have X amount of work done by Friday. Get to work, deadbeat!"
Do you prefer to work with a specific media?
On the TOPPS sketch cards, PITT pens & COPIC markers rule my world.
Is the base card process (coming up with the concept) very different than how you approach your comic cover work? Can you elaborate on your base card process?
It's not much different at all, except that I don't have to worry about logo placement! I don't think about the size, since these images get reproduced at different sizes. As for the process: I sketch an idea, then get some reference to help my polish off the rough spots (did you know most women only have TWO breasts?!?!). I then transfer that to a nice piece of illustration board, which I ink. Then I scan it into Photoshop and color the crap outta it.
Do you have a lot of contact with collectors regarding your cards?
At conventions, yes. They bring them up to sign, and it's fun to part of such a tradition. Trading cards! It makes you feel like a homerun hero, with the exception of the guilt I feel about betting on industry on the side.
What was the most difficult sketch card set you have worked on to date? What made it difficult?
The Indy 4 set. I dunno, the subject matter made it tough to bring the old A-game....
Are there any cards that you are particularly proud of?
I have a handful of Indy cards I did for the Heritage set that I am really proud of. After about 20 cards I figured out a simplified Indy that I liked so much, I wish I could do a whole comic in that style.
Do you see yourself continuing with sketch card sets?
I'm not sure. I have so many deadlines from my other assignments, it's tough to add more. But it IS the 30th anniversary of the Cadillac of STAR WARS films, The Empire Strikes Back....
Can you tell us what future sketch card sets you'll be working on (base or sketch cards)?
I have nothing planned at the moment!
What are you currently working on?
I'm currently working like mad to put together a coffee-table book of my 20+ years as a cover artist at DC Comics.... I have my Sideshow Collectibles statue work.... many covers for DC Comics....
Where can people see more of your work?
Wherever comic-book heroines don't wear much, I can be found! Also: http://adamhughes.deviantart.comThank you so much, Adam!!
Click to enlarge.
How did you get involved in sketch cards?
I was emailed by a lovely card collecting lady who said 'Sketch cards! You should do them!' and included a link to Scoundrel. I visited the forum and was instantly in love with the idea and the art there, but in the face of all that awesomeness I was too nervous to join, ha. A short while later the (terrifyingly talented) Katie Cook showed some of my work there and so I just sneaked in behind it. Shortly after that Grant Gould (another great artist) recommended me to the editor at Topps and I was invited to do 'Lord of the Rings, Masterpieces II'. I'm just batshit crazy about LotR, so my squeals were heard across the Atlantic.
How do you feel about working on such a small surface?
I love it actually. I'm a slow, fussy, detail-obsessed fiddly monster; so small suits me.
What media do you like to work with for your cards? Is that different from what you normally use to produce artwork?
I like a combination of chaotic colour and controlled line, so usually mix acrylics with pencil and inks, whatever the size; often with glazes in between for depth. I'm also a big fan of gold leaf and metallic paints because I like SHINY.
How do you feel about the entire process?
Ah, deadlines. The art industry's laxative. They're terrifying. Huge amounts of pressure to produce your best work in the shortest possible time. But they've also forced me to be braver in my work and (try to be) more self-disciplined. Yeah... I probably need more deadlines.
The size of the company makes a difference. With the large ones it usually means good exposure and prestige plus a rare chance to draw franchises that you usually can't touch (but want to); however with the smaller companies you have more artistic freedom - and more chance of having your emails answered.
How do you approach your cards? Is there a lot of ‘prep’ time for you?
Loooaads of prep time. Especially with 'Clone Wars' as I'd never seen it before, and watched the first season through twice to understand the story and who the characters were.
Before I draw a single card I need to work out the content and composition for every single one. If all the cards are from one big story (like Star Wars) I like to have a narrative theme running through many them so that when seen in the right order they tell that story.
However, it's not always easy to fit a wide cinematic scene into a portrait-format little card, so I often have to make my own reference images.
I also prime each card with paints and acrylic media to give me the right surface to draw on and some background colour, and to soften the sometimes intrusive patterns printed on the cards. All that stuff can easily take a week or more.
Your cards are very detailed, how long do some of them take you to complete?
For official sets it averages out to be roughly 3.5 hours per card (106 cards over three weeks at 18 hours a day). The cards I sell personally on ebay can take a day each; and commissions can be 3 days for one card because I always feel so much pressure to make them 'good'. Consequently I dislike doing commissions and for the sake of my sanity won't be taking many more in future.
Do you have a lot of contact with collectors regarding your cards?
I do! I'm always surprised and delighted when a stranger contacts me to say they like my work; and some of those people have since become very good friends of mine.
Has your career as an artist benefitted from doing sketch card work?
My work has been seen a lot more which is fundemental to any artist; but it's also improved my drawing skills and confidence. Also, due to the tiny size and improved chance of finishing it sooner, it's given me more opportunity to experiment - which I love.
What was the most difficult sketch card set you have worked on to date?
Topps' Clone Wars widevision. I'd never drawn cartoon characters before, even sophisticated stylised ones like these. A living person's face has a myriad of shapes, contours and imperfections; they're all unique in their expression. But with Clone Wars the faces are exaggerated, simplifed and to a certain extent quite static. I didn't know if there'd be enough in there for me to draw and still make my own - and yet still maintain a bit of that distinctive cartoon feel. I kind of managed it, but I'd like a second try at it in future.
Are there any cards that you are particularly proud of?
With LotR Masterpieces II I was asked at the last minute to do an extra 53 cards. They arrived on friday afternoon and needed to be back in the post monday morning; so with less than three days to do 50 cards they raw and rough. All the spidery contour lines that I use to build up a face were left visible and exposed (instead of being painted over or rubbed out) and I loved them! That weekend was stressful, sleep-deprived and terrifying, but I really liked those cards and have kept my spidery lines visible ever since.
At the other end of the scale where I could spend 3 days on a card if I wished, I loved the stuff I did for sadlittles.com 'Legends & Lore' set. The entire experience was delicious. I indulged in Ancient Greek and Egyptian myth and loved every minute.
Some companies provide return cards for working on sketch card sets. Do you keep any of the cards returned to you?
No, ha, I can't afford to keep my own cards.
Do you see yourself continuing with sketch card sets?
For a while, definitely, especially for more Lotr work if it came up.
This year I have three sets lined up already: for SadLittles.com I'm doing a Fairy set and then one based on Horror which I'm squeeing over (yay horror!) I'm also doing some wicked women for an Axebone pirate set later in the year - and plotting how to subvert the pirate theme into something steampunkish. ;)
Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
Ha yeah - start with good eyesight and good lighting. Working on teeny pictures every day can really monkey up your eyeballs.
Be original, take an artistic angle that's unique and 'you' instead of copying other artists, and then post your work wherever you can get it seen and send samples to sketch card companies. If they say 'no', leave it for a few months, keep working hard, then re-submit. As your work and/or style improves there's a good chance they'll say yes in future.
Where can people see more of your work?
www.BohemianWeasel.com - My website. I just keep my favourite pieces here from past and present, it has a bit of everything but I am a bit slow at updating it. *sheepish face*
www.bohemianweasel.deviantart.com/ - My DeviantArt account, it's quite new so only has recent stuff (at the moment) but almost everything gets posted here.
And I have a blog on LiveJournal - http://bohemian-weasel.livejournal.com/
And Twitter - http://twitter.com/BohemianWeasel
How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I think the collectors have a right to a well-drawn, appealing card; a good sketch card. But a good sketch card doesn't need colour, to have taken ages, or even be very detailed to be visually pleasing - but it does need to show the artists' consideration and talent. And ideally it should stand alone as an image, rather than be an unrecogniseable part of something much bigger.
It's not worth doing these for the price we get paid per card, but rather for our love of the material, the exposure we get having our work seen, and hopefully from sales of return AND personal cards afterwards.
Have you had any bad experiences with collectors?
So far (touch wood) I've actually been really lucky with the people who buy my work: they've been inspiring, supportive, and lots of fun to work with. It means a lot to me, so I try to go that little bit further for them. There'll always a couple of nutjobs who get a bit close for comfort, but a tap on the nose with a rolled-up newspaper usually works.
Thank you so much, Soni. It was an absolute pleasure!!
How did you get involved in sketch cards?
Believe it or not, my foray into sketch cards stemmed from some fan art I had lying around and decided to send off to the Star Wars Insider. (I had drawn up a bunch of cover illustrations for Dark Horse’s collection of the SW comic strips that ran in newspapers throughout the late 70’s and early 80’s as well as a handful of ‘kiddie’ cartoons for the short-lived Star Wars Kids magazine.) Nothing ever came of my submissions and the drawings languished in the ‘what might have been’ file of my studio for years.
One day I came across them again and decided to give it another shot – this time redrawing one of the pieces in Photoshop and emailing it directly to the Star Wars Insider’s ‘Bantha Tracks’ Editor, Mary Franklin – within minutes she responded, telling me how much she enjoyed the piece and was going to run it in a future issue!! (Bonus points to anyone who can find the issue number cuz I’ll be danged if I remember) As a life-long Star Wars nerd, life couldn’t get any better than that, or so I thought cuz a few days later, Mary shot another email off telling me that she has just passed my name on to Topps Trading Card Company as a potential artist for one of their Star Wars projects, so expect someone to contact me.
My initial thinking was one of disbelief and that it probably wouldn’t amount to anything… well, was I ever wrong! Topps’ Editor, Matt Saunders called me within 10 minutes of Mary’s email and I was off and running! (That project turned out to be the official set for “Revenge of the Sith”!) And since Mary had submitted my name, I was already pre-approved as an Official Lucasfilm Artist!! (I found out later that SW guru Steven Sansweet also had a hand in my fate – so to Mary and Steven, my undying gratitude for the honor to play in such a prestigious sandbox!!)
Do you have an educational background in art or are you self taught?
I’ve drawn all my life but had very basic rendering skills coming out of high school (Embarrassing as it is, I had no clue what a T-square was!)
I attended SUNY @ Farmingdale on Long Island, NY majoring in “Commercial Illustration and Graphic Design” – I applied to the school not so much for it’s prestige – it was actually an Agricultural School! – but because it was all I could afford within the proximity of Manhattan. (I grew up 4+ hours North in a VERY rural part of New York state… think snow and cows, so to me NYC was my Emerald City – it just seemed so magical that I HAD to work there)
How do you feel about working on such a small surface?
The tiny surface definitely gets some taking use to – at first I hated it, but over time I’ve learned to tackle it as a challenge. Each card company uses a slightly different stock for their sketch cards, so that’s another challenge in and of itself.
How do you feel about the entire process?
As a Commercial Illustrator and Designer, I thrive on deadlines – to me that’s one of the most important aspects of any job. I’ve learned that no matter what your skill levels are as a professional, as long as you meet deadlines, you’ll continually get work.
As for the card companies themselves – my experience is that for the most part, they are professional and honor their agreements for payment and such… When I started doing sketch cards, there weren’t even contracts! The business was so new that I don’t think some of the companies knew how to handle the ‘talent’… the whole thing seemed very cavalier and I don’t think anyone; artist OR card company, knew what was being unleashed upon the collecting public.
Do you prefer to work with a specific media?
I mainly work in colored pencils, Sharpie markers (Yes, Sharpies! I love the vibrant feel they give) and Micropens. I’ve been known to go old school with just non-repro blue pencil as well or throw some acrylics on a card – depending on the subject matter and card stock.
Do you have a lot of contact with collectors regarding your cards?
I can’t begin to tell you how many collectors (and artists) have become true ‘friends’ through sketch cards and the ‘Scoundrel’ message boards. In all honesty, I probably would have given up on sketch cards a while back had it not been for collectors who continually support my work! I love each and every one of them and realize that at the end of the day, I toil over these silly little pieces of cardboard not for me, but for them!
How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
While I understand the demand, I think ultimately we, the artists, have literally and figuratively painted ourselves into a corner. I remember working on the first LOTR set for Topps where one of the artists had set up a secret blog so we could show off our cards to each other – and as one artist would show a card where they had added color, someone else would just HAVE to one-up them and do something a bit more elaborate…
It was actually a great time to be working on these cards and the whole artist community seemed to be just a bunch of friends hanging out and showing off – I have very fond memories of that and how tickled we were to do something in full color cuz it was a complete departure from the rough B/W sketches we had been assigned to do. If only we had known!
Ultimately we outdid each other to the point where collectors sought the full-color-super-detailed card and actually started to throw distain on the B/W cards.
Have you had any bad experiences with collectors?
I can honestly say that I have NOT had a single bad experience with a collector – ever!
I can’t say that of some other artists though… I’ve heard stories of harassment or pure hatred poured onto their work from collectors (and even from other artists), but by and large, that is an exception and not the rule when it comes to sketch card collectors.
Bad experiences with companies?
No bad experiences with any company either – just disappointment in not getting a chance to rise above the cream on certain projects… but hey, that’s the way the cardboard crumbles, right?
Has your career as an artist benefited from doing sketch card work?
Absolutely! When you draw day-in day-out for a month+ straight, it can only benefit you as an artist – not only in your rendering skills but also in your speed.
What was the most difficult sketch card set you have worked on to date? What made it difficult?
I think the most difficult set was “Avengers” for Rittenhouse. Marvel was particularly judicial in their choosing of artists and I went against my better judgment and switched up my approach from a less ‘cartoony’ look to a more ‘comic book’ style. They approved that style and I fought it every step of the way as I wanted to make them all cute, not heroic… I was able to sneak in a few silly cards such as ‘Thor Frog’ and Spidey in space but overall I feel it was my least satisfying set.
Are there any cards that you are particularly proud of?
This may sound like hyperbole, but in all honesty, I’m really proud of 99.5% of my cards out there!! “Revenge of the Sith” was my very first set so I’m super-proud of them just for that achievement alone… but I have a real fondness for my work on “Lord of the Rings: Masterpieces” and “Indiana Jones: Heritage”
I try to vary my style with each set and LOTR: Masterpieces was a lot of fun because I decided to render the characters as if they were in some Manga/anime style movie. No action scenes, simply head shots…
Indy was simply due to the love I have for the movies, especially “Raiders of the Lost Ark”. We (the artists) had access to all three original films but I decided to go frame by frame through ‘Raiders’ and draw each key scene in full color. I really poured my heart into that set more than any other. (I had ulterior motives though as rumors were circulating that Topps was reviving the SW Galaxy set and my holy grail has ALWAYS been to land a base card assignment on that set – my thinking was that I’d hopefully impress the editors enough to give me a shot… sadly that was not the case.)
Some companies provide return cards for working on sketch card sets. What do you do with yours?
There was a time when my Return cards were spoken for long before I had even rendered them yet! I had quite a few collectors who would hear I was on a set and actually ask me for one of my returns – sometimes even requesting a specific scene or character, which I was more than happy to provide. It was a smart move on the part of the card companies because they could pay us pennies and we’d jump at the chance simply because the return cards could be sold for big bucks! Mine never reached the levels of some of the other top-tier artists, but it was nice compensation none-the-less.
Unfortunately the bottom fell out a year or so ago and Return Card prices plummeted, at least for me they did – without that incentive of money on the back end, it became clear that sketch cards were just no longer worth the time and effort needed to create them and I quietly walked away.
Do you see yourself continuing with sketch card sets?
“Star Wars Clone Wars” was my last official set. I get the itch every now and again, especially when I’m trolling around on message boards and peruse all of the cool cards other artists are producing – but so far nothing short of a base card on SW Galaxy could bring me out of retirement. (Although, even as I write this, I AM working on a secret project concerning sketch cards – so never say never, eh?)
Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
If you DO get invited onto a set – take it serious and act professional! Deadlines are meant to be honored. Take pride in your work and don’t worry about what anyone may or may not like – art is too subjective to try and please everyone – just do your thing and everything else will fall into place.
Oh yeah, I guess you could buy your editor a drink the next time you’re hanging out during a convention as well, I heard it couldn’t hurt! ;)
What are you currently working on?
Currently I am working on a series of online comics for a new line of stuffed animals called “Flopalongs”. The first comic is up now at http://www.flopalongs.com/ with more to come as the product line gets bigger.
I’m nine books into a series for Weekly Reader’s publishing line entitled ‘Grammar All-Stars’ as well… They are educational books that teach kids their basic grammar skills through fun stories that center around sports.
There’s an “Oddly Normal” short story sitting on my drawing table for the past year or so that I desperately owe Otis Frampton – perhaps now that I’ve revealed my shame in not finishing it, I’ll find the time to wrap it up.
A few other graphic design projects here or there but mostly I devote my free time now to my family.
Where can people see more of your work?
I’d love to tell you to visit http://www.artgeckostudios.com/ but the reality is that I have not updated my site in years! Maybe in 2010 I’ll finally get around to it…
I cannot thank you enough for your time and insight, Jeff!!
