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Interview with Nina Edlund

How did you get involved in sketch cards?
You and Grant Gould! I can't remember which one of you contacted me first but you guys offered to pass my name along to Topps if I was interested in doing sketch cards (which I was, obviously!). I sent the art director an email, dropped your names and attached a few samples of my work. I was so anxious about doing a good job because I wasn't only representing myself but, since you both vouched for me, reflecting on you as well.

How do you feel about working on such a small surface?
I don't tend to draw very big anyway -- most of my drawing takes place in the margins of my notebook during meetings so drawing small is my natural state of being. However, it was an adjustment compositionally. I'm used to doodling across an entire page so it was a mental realignment to place things correctly in a small, specific area. I'm still trying to figure it out!

How do you feel about the entire process?
In a perfect world, the artists would be given long deadlines and only be asked to take on a small amount of cards. Also in this perfect world, I would have a house made of diamonds and ride around on a pink, sparkly unicorn. Although I would like more lead time, I certainly have no problem with the way things are. You just have to know, as an artist, what you are able to take on within the parameters of the deadline and commit yourself accordingly (I learned this the hard way. Oy.).

Do you prefer to work with a specific media?
I definitely prefer working in pencil. My lines are much more confident in that medium and I feel like a lot of the subtle beauty of my work gets lost when I try to take it to ink and color. Knowing that collectors far and away prefer inked and colored pieces, it becomes a dilemma for me. Do I give them what they want and have the product be not as good as it could be? Or do I stick with pencil and make something that I feel happy with? Maybe some day I will figure out how to achieve the things I want to express in a full-color format so everyone's happy.



Do you have a lot of contact with collectors regarding your cards?
Not too much! I'm pretty shy and I am awkward at best when it comes to praise regarding my work; it's makes me want to blush, punch the person in the shoulder and say 'Oh my goodness, crazy pants!' Yes, praise reduces me to elementary schoolesque bashfulness. I post a little bit on the Scoundrel message boards but I don't ever have a table at any conventions. Maybe someday!

How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
This is such a tricky thing. I completely understand the collector's desire to have a mini-masterpiece with each sketch card they pull. And I certainly try to do a good job on the cards I draw. However, the amount artists are paid per card is extremely minimal. I have several friends who are artists professionally and if there is one thing they all agree on, it is this: do not devalue your art. If a person is willing to give away their art for practically nothing, it impacts the value of other people's work as well because folks come to expect something for nothing from all artists. I think it is great when artists do beautiful, fully-painted cards that just take people's breath away to look at and a lot of them do it simply for the love of the subject matter. I think the thing for collectors to remember is that they should cherish those cards as something special and not expect it in every card they come across. If they do not want to risk paying for a case on the possibility of just getting true sketches, they should probably hold back their money and use it to buy return cards since they can be sure of what they are getting. Case breaking is a gamble after all!

Another aspect of this debate has to do with an artist investing in themselves. Doing quick sketches and keeping the value of the art in line with what they are being paid is not going to really advance an artist. However, if they devalue their art in the beginning of their careers (as in doing fully painted, intricate scenes), that is a strategy of getting a future return on investment. Because if they go above and beyond, they are more likely to make a name for themselves amongst collectors and eventually be able to command much more when they sell their return cards. Additionally, establishing oneself could lead to opportunities beyond the sketch card world.

So what's right and what's wrong? Whether an artist wants to do a full-color mini-painting or stick to true sketches, neither is the wrong way to go. It really depends on what the artist's goals are and their personal philosophy when it comes to their art and collectors should accept that diversity in opinion. And I'm not even getting into the subjectiveness of art and how beauty can be found in the simplest of lines!

Have you had any bad experiences with collectors?
Nope! Everyone I have dealt with directly has been really nice. And while there will always be someone voicing an unhappy opinion on message boards, criticism is information an artist can use to improve.

Bad experiences with companies?
I've only worked with Topps and I have no complaints (although if they decide they want to up the pay rate, I certainly will not object)! No one has kicked me in the shin or anything so it's all good!




Has your career as an artist benefited from doing sketch card work?
I'm not sure how to answer this! Hmm. I'm not an artist by profession and I don't actively seek freelance jobs. My day job is being a web designer at NBC and I mostly do sketch card sets every once in a while as a personal side project. I do them for fun without the intention of using it as a stepping stone to other things. Although if the stone presented itself, I would step on it. Oh yes I would. I would step all over it. Maybe even skip!

What was the most difficult sketch card set you have worked on to date?
Clone Wars Season One Widevision. Why? Because I had never seen the series! I'm familiar with the Star Wars movies but not the tv show so I didn't have any ideas about pivotal scenes and I had to research the characters (all within a short span of time with no DVDs to pounce on). However, the larger cards were nice to work on so that was a good trade off.

Are there any cards that you are particularly proud of?
I really like the style that emerged on my Clone Wars Widevision cards. I've also done a few cards in a sort of art nouveau style that came out nice; I'll probably try to do more of those in the future.

Some companies provide return cards for working on sketch card sets. What do you do with yours?
I sell them! Although I did keep one of my Lord of the Rings Masterpieces II cards. It's a pretty simple pencil sketch of Gollum; it probably wouldn't interest collectors and I just really love the expression I pulled off on that one. Plus it was the first set that I did so I wanted to keep something from it.

Do you see yourself continuing with sketch card sets?
As long as they'll have me. Although I really need to stop agreeing to sets that fall around a holiday or vacation! My family is scattered across the country and I don't get to see them too often; I think they are getting tired of me working on sketch cards during Christmas vacation when I should be hanging out with them! But it's just too hard to refuse when a Star Wars set comes knocking.

Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?

How to Break into the Sketchcard Biz

10 Blueberries, freshly picked
Twine, enough to encircle your head
2 Trout, whole fish about 1.5 lbs. each
pinch of salt
On the third full moon of the year, string fresh blueberries on a length of twine and fashion it into a crown to wear upon your head. Make slippers out of the trout and put them on your feet. At exactly midnight, dance counter-clockwise in a circle three times and then throw a pinch of salt over your shoulder. This should please the Sketch Card Gods and you will receive a positive omen from them within a fortnight.
But seriously... I just kind of fell into it so I don't know if I have any specific advice for people wanting to get into sketch cards. As far as general advice on improving oneself as an artist? Draw from life whenever you can. If you are just starting out, do not spend a lot of time on style or mimicking someone else's; work on your foundation skills of composition, perspective, form, function, line quality, etc. When your foundation is solid, you'll know what you can realistically exaggerate, which rules you can break and which ones you can only bend; when that happens, your own style will emerge and you can kick ass all over the place. And when you kick ass, opportunities have a way of finding you.



Can you tell us what future sketch card sets you'll be working on?
I'm not working on anything currently and when I do sets, it's usually an email out of the blue a few weeks before the deadline so I don't know what I am working on too far in advance. I'd love to work on a Harry Potter set though and I will always, always make time for Star Wars.

What are you currently working on?
I'm working on developing superhuman abilities. I would like to figure out how to breathe under water but flying and invisibility would be cool as well. Unfortunately, my success in this arena has been minimal. I am also working on getting a Ragdoll kitten sometime in 2010 and organizing my closets.

Where can people see more of your work?
If folks wanna see my day-time work, they can go to http://www.nbc.com/! Yay NBC! But I guess you mean my art work? In that case, I can be found at http://ninae.com/ and http://fluffybottom.cghub.com/

Thank you so much, Nina!!

JLA Archives Trading Cards

*image above from the Rittenhouse website.

Click the link below for information on this set.

http://scifihobby.com/products/dccomics/jla/

Interview with Art Grafunkel

How did you get involved in sketch cards?
I've known both you and Grant “Solid” Gould for a while now, although only online, because we seemed to hang out at similar internet message boards, like Steve Niles' Inner Sanctum and Ben Templesmith's Conclave... you know: “Best Friends I've Never Met”.

You were both doing lots of sketchcards, and I must've mentioned I was interested in doing them as well, because one day I get an email from Grant, asking if I'd like to do a try-out for doing sketchcards on a genuine card set for Topps. That was “Lord Of The Rings – Masterpieces II”. I quickly doodled some sketches, sent those to Grant, and he passed them on to the powers that be at Topps, who immediately got back to me. Which was nice. And a few days later I received my very first box of blank cards in the mail.

So I have to thank both you and Grant for introducing me to the biz!

How do you feel about working on such a small surface?
I'm used to drawing in small sketchbooks, little notebooks, post-it's and such, so the small size isn't much of a problem. I guess it might become a challenge if I start colouring my sketchcards with watercolors, or painting them all together. I'm in total awe when I see these highly detailed, painted masterpieces on some sets. I'm always wondering if those artists got bigger cards than I did.

How do you feel about the entire process?
It's a delicate balance: on one hand they're supposed to be sketches, the deadlines are fairly tight, you don't make loads of money on these projects... but on the other hand, given these circumstances, you still need to create something that would make both yourself and the buyer happy.

Do you have a lot of contact with collectors regarding your cards?
I'm still really new at this, so I don't think many collectors actually know either my name or my work. I do post stuff on my Facebook page and also at Scoundrel, the message board for both sketchcard artists and collectors, which is a good way to get feedback on your cards and to keep in touch with collectors.

How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I'm still a newbie to sketchcards, but I've already noticed that, as with most hobbies, there is a lot of passion involved... and sometimes a lot of money invested. And that can cause some tension.

Collectors invest a lot of money, buying whole boxes and shipments, sometimes just to get a handfull of sketchcards. So I can understand it must be frustrating getting “only” a pencil sketch, but, considering the circumstances, sometimes that's all an artist can afford.

Have you had any bad experiences with collectors?
Not at all.

On the contrary, I (unwillingly) gave the guys that bought my returns a hard time. A simple payment from a U.S. bank account to a European bank account isn't that obvious, apparently. It involved some paperwork, and a small extra fee for the buyers, sadly.

But everything worked out fine: they got their cards, I got paid... and it showed me that these people really enjoy my work, so that's neato.

Bad experiences with companies?
Not really, although my first sketchcard set, “The Lord Of The Rings - Masterpieces II” series I did for Topps, wasn't really smooth sailing for me.

I was more than halfway through my 200 cards, when I got a mail from Topps, saying New Line Productions didn't like the initial sketches they saw... not the sketchcards, mind you, just the really quick sample sketches I sent them early on, to show my style... but Topps told me not to worry, to just keep on drawing my cards, and that they'd handle it. But New Line didn't want to negotiate, so they couldn't approve any of my cards. As such they weren't inserted in any packs, and technically can't be made public.

Topps did all they could, and the people at New Line probably have lots of people breathing down their neck as well, so it would be dumb to blame anyone... but, being a fan of the books and the movies, that was a bit of a bummer.

Has your career as an artist benefitted from doing sketch card work?
Illustration is more a thing I do on the side, but it certainly flexes artistic muscles which I don't get to use during my dayjob as a graphic designer. It's a challenge: catching that certain character, or expression, or mood, or pose, on a very limited canvas, within a limited timespan, while still concentrating on composition, texture, contrast and anatomy.

What was the most difficult sketch card set you have worked on to date?
I haven't worked on that many sets, but I'd have to say the least interesting to me personally was the “Indiana Jones and The Kingdom Of The Crystal Skull” set, based on the last movie. The exclusive reference material we got was very sparse and non-descript: man in suit, man in suit with hat, man with glasses, man in suit with glasses and gun... I had no idea which ones were bad guys or good guys, no clue what the plot was, or what the movie stills were about.



Are there any cards that you are particularly proud of?
I did some pretty decent cards for the “Star Wars Galaxy 4” set by Topps. Probably because the Star Wars universe lies close to my heart: the characters are so dramatic and expressive, and the designs are so over-the-top, so I couldn't help but draw them jumping around, capes flapping behind them, or lunging their lightsabers right at you. The field of reference for this set was also wide open: comics, movies, cartoons, games, toys, almost everything was available.

The bounty hunters and the weird alien barflies at the cantina were paricularily fun to do.

Some companies provide return cards for working on sketch card sets. Do you keep any of the cards returned to you?
Yep. I still have my Indy returns.

What are you planning to do with them?
Sell them one day, hopefully, hah!

But if they don't sell, I might frame them.

Do you see yourself continuing with sketch card sets?
Sure, I'd love to do more. I'm a nerd, so I love sci-fi, and horror, and movies, and comicbooks, and that's what the sketchcard business is based on.

I really want to do a Star Wars set again. I didn't get to do a Darth Vader in the previous Galaxy set, so I hope I get to doodle old helmethead in an upcoming card series.

I'd also like to work on a Marvel or DC card set. That'd be so awesome, as I've been reading comics since I was about twelve, doodling little Batmen and Spidermen on every blank scrap of paper I could get my hands on.

Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
The usual stuff, I guess.

First of all: draw. And draw all sorts of things, like comicbook heroes, movie characters, but maybe more importantly: draw from life. Your garden shed in the midday sun, the girl sitting at the other end of the coffee shop, the guy walking his dog in the park, anything. That stuff is very important if you want to draw convincing anatomy, clothing, and textures.

So just draw a lot, and get your work out there where it can be seen: blogs, online portfolios, message boards. And you probably could get in touch with the card companies directly through their contact info on their sites.

Can you tell us what future sketch card sets you'll be working on?
There's nothing particular in the pipeline, but I noticed on your blog that Topps is doing a “Star Wars Galaxy 5” trading card set, so I hope I can work on that one. I already gave them a little poke, to show them I'm still alive and kicking, so my fingers are crossed. Basically, I'll do anything that tickles my fancy, so to speak.

What are you currently working on?
Well, there's my dayjob as a graphic designer... And then there's my two kids... so that leaves about fifteen minutes of spare time each day.

And during those fifteen minutes I'm doing some research and preliminary sketches for a possible comicbook series, written by a local author/illustrator, but it's still very early on... and if it's published, it'll probably be limited to a local (Belgian) release.

I also have a few short comic stories lying about, some written by me, some by others, which I'm constantly playing around with.

Where can people see more of your work?
I post some of my artwork on Scoundrel, and most of it's on my Facebook page.
http://grafunkel.livejournal.com


Thank you, Art!

December Expo addition!

So far, Mark McHaley and Bob Stevlic will be there, along with Ari Lehman - the first Jason of Friday the 13th.
Also due to this being a holiday show, for those who bring in a sealed toy, card set or card box, they will receive free admission to the show that day.
Take care,
Happy Holidays!
Paul
http://www.nonsportcardexpo.com/

Added Chicagoland card show

Hello all,
Great news! To finish this year off with a bang, I decided, with some help and prompting from several customers & dealers alike, to add a holiday show. The date is Sunday, Dec 13th in Ballroom B, at the Holiday Inn 150 S Gary Ave Carol Stream, IL. Just 3 miles west of I-355 expressway.
There will be exhibitors, & artists at this one.
Help spread the word please.
Dealers & Artists, if you are interested, please post here or drop me an email at "cecexpo@gmail.com". Limited space, low admission cost. We will also be offering the special advance admission cost for the 10th Anniversary Expo Sept 9-12, 2010 again just like we did this past Sept.
The website will be updated soon, email now to insure a space at this show.
Thanks and take care!
Paul
http://www.nonsportcardexpo.com/

Interview with Randy Martinez

How did you get involved in sketch cards/What was your first sketch card job?
I was doing a lot of art work for the Star Wars Insider at the time (2004 I think), when I saw some cool looking sketch cards for the Clone Wars set.
I didn't really understand what they were at first, but I made a few calls and inquiries and before to long I got an invitation to work on Star Wars Heritage.
They asked me how many I could do, to which I answered "How many do you need?". They asked "how about 3000?" I said sure...not really understanding how many cards 3000 cards were. It was amazingly hard to get through so many cards, but I completed the job with literally 4 minutes to get to the Fed Ex drop around the corner from my apartment. An experience I'll never forget, but also taught me something new I was capable of doing.

How do you feel about working on such a small surface?
All of my life I was taught to draw as big as possible, and I still believe that lesson is true. But obviously, 2.5 X 3.5 does not really give that luxury.
I've learned over time to work on such a small surface, but I prefer to work much bigger.

How do you feel about the entire process?
I'm fine with it, I take a very business like approach to getting the cards done for any set I do. Really, for me, it's the only way to get through them. If I let the fan come out in me I'll be there all day on one card. I just can't do that. I work REALLY fast, probably due to working on 7000 cards in a year and and half when I first started. The only time deadlines get heavy on me is when I have
other deadlines for other professional work (Like books, games, or posters) that requires me to slow down and paint. It's very difficult to switch back and forth between sketch card mode and Illustration mode.
But, you know, I gotta do what I gotta do. It's a challenge which I like.



You do beautiful color work on your cards. Can you discuss your process for doing your color sketch cards?
Due to my new book coming out next year "Sketch Card Mania" (co-author Denise Vasquez), I can't really go into process right now. I can tell you that I use Prisma Color Markers and Prisma Color Colored Pencils.

Can you explain what after market cards are?
After market cards are sketch cards that have been pulled from packs, but are then drawn or painted over for a new or altered image. When sketch cards first started getting popular many fans used to have artists do after market cards on the cards they pulled for an extra fee to the artist. It was a really great thing because many fans wanted color cards, or some image they didn't get in the pack pull.
With after the after market market, the fan could get exactly what they wanted, and the artist could get compensated appropriately for the extra work they do on the card.

What’s your opinion on some (if not all) companies no longer participating in aftermarket cards anymore?
I understand where the companies are coming from. I used to think it was the card companies caving to the minority of collectors who complained about after markets (to which I've never understood the complaint). But, you know, when you speak directly to the source you tend to get the full story. After speaking with several card companies about "After Markets", I understood the decision to start banning after markets (on cards produced after 2005-6) had nothing to do with collectors, and everything to do with the licenses they held from different title properties. Not all of them, but a couple did not like that there was "unapproved" art being sold on the open market.
So they started to complain to the card companies, and the card companies put a ban on after markets. That is why we must sign an agreement to not do after markets when we sign off on new sets.
I used to feel it was unfair to take away a source of income from artists, but as time has gone on, I have learned that the ban actually HELPS the artists make more money on their return cards, that is, if you elect to make your return cards extra special and different from your pack pulls.
So, my opinion has changed quite a bit since I first started doing sketch cards.
It's amazing what you can learn when you listen and get facts from the source.



You have done base cards as well, correct? Can you explain what they are, exactly?
Yes, my first base set "trading Card" was for Star Wars Galaxy 4. I did the "Tusken Hero", which depicts a Tusken Raider having just defeated a Krayt Dragon.
Topps has kept me very busy for Star Wars Galaxy 5. I am creating 2 brand new pieces for the base set, 2-3 cards will feature Posters and covers I have done for past Star Wars Celebrations and Publications, and 15 Foil cards for the sub set (or chase card set). I'm really excited.
Base set cards are trading cards that make up the "set" of any given title. They are not unique or nearly as rare as the sketch cards, but it can sometimes be a challenge to collect the whole set of base cards.
The Foil Chase cards are usually deemed rare to ultra rare. They usually make special one of a kind foils that look slightly different than the others to make them Ultra Rare.

Is that process (coming up with the concept) very different than how you approach the regular sketch cards? Can you elaborate on your base card process?
It's really two different things for me. With sketch cards, they are sketches, there is just the tiny little space to draw on. So I usually just do a portrait. It's simple. Base cards are illustrations, I work big like I prefer, and I paint, draw, and do what ever I have to do to get the look I want. There is plenty of room to do some story telling, and big enough to get details in.
The concepts are always flying around in my head, so it's just a matter of plucking one out, which is easy. The only thing I have to consider when doing the illustration for the card is to remember that it will be shrink down to fit on a trading card. If you start drawing to small on the full size art, no one will see it in the reduction. As well, if you spend hours drawing every single hair on some ones head most of it will be lost in reduction. I mean, it doesn't totally go in vein, because you still have a great original full sized piece, I mean if the focus of your piece is very fine details, chances are it will be lost once it gets put on a card.

Do you have a lot of contact with collectors regarding your cards?
Yes, I am very grateful for the fan base that continues to commission me to do work and/or buy my return sketch cards. The fans have really helped my work gain popularity and in turn has made my career much better.
So I owe a lot to my fans. Thank you, Thank you!

How do you feel about some collectors wanting more detailed cards versus what sketch card artists are paid to work on the cards?
I feel collectors want to capitalize on their investment when they buy a case of cards. That is understandable.
But, I feel that it is unfair to place the responsibility of making the collector a profit on the artists is unfair. The artists are all doing the job they were hired to do. They met the requirements of the publishers and they made it into packs.
Bottom line is buying packs of cards, whether it is baseball or Star Wars has always been a gamble.
When I was a kid I would buy pack after pack of baseball cards to get a Steve Garvey. I spend $5 (which was a lot to a 4 year old kid in the 70's) and I'd maybe get 1. Was I mad at the card companies? No, I knew ahead of time that there was a chance I might never pull a Steve Garvey. But that is what makes
open packs of cards fun right? The thrill of the chase.
With sketch cards, collectors know they may not get a card they like, but they buy packs, boxes, and cases anyway. If they blow $1000 on cases of cards, knowing they might not be happy with what they pulled, shouldn't that collector take responsibility for gambling on their money on the cards in the first place?
Of course, there will always be some collectors that will argue that if they were artists they would do finished art on every card.
To which I say, put your money where your mouth is. Become an artist and get on a sketch card set.

Have you had any bad experiences with collectors?
Actually, none that were bad enough for me to remember.

Bad experiences with companies?
No. I'm happy with my experiences with all the card companies I have done work for.



Has your career as an artist benefitted from doing sketch card work?
I would have to say yes. In terms of fans and commissions. It has opened my career to a whole new pool of fans and collectors, across many different genre's.
As far as my illustration career? Maybe, I mean the Topps Trading cards definitely. But most clients who have me do book covers, games and posters are not really interested in my sketch card work. They are sketch cards and many art directors just leave it at that.

What was the most difficult sketch card set you have worked on to date?
I don't like saying any thing negative about any title, so I will give you my second most difficult set I have worked on. The second most difficult title I have worked on was Star Wars Revenge of the Sith.
I signed up for 3000 cards AGAIN, but this time I was trying to make a new relationship work at the same time. I had much LESS time to work on this set, and my girlfriend at the time did not dig me bringing my sketch cards everywhere we went. But I had to. It got to a point where I wasn't even thinking about it, I'd just be drawing while we were at dinner, at her parents house, at a wedding reception. Just in case your wondering, no, that isn't why the relationship didn't work:) or, I don't know maybe it was the reason. She said something like I'm always drawing those cards and I don't ever listen to her, or something...I don't know I wasn't paying attention. :)

Are there any cards that you are particularly proud of?
To be completely honest, I am proud of most of my cards. My color returns are always fun and turn out nice, but the cards I'm most proud of are my first set of 3000 for Star Wars Heritage.
It was such a task that I felt I would never be able to do, but I did it, and got it in on time. I am extremely proud of that.

Some companies provide return cards for working on sketch card sets. Have you kept any of the cards returned to you?
I sell my return cards. I really don't have any interest in keeping them. This is my take on my art in general. Art is an experience, and everyone has a different experience with it.
As the creator my experience is in the process. making the art is what brings me the most bliss and fulfillment. Once I finish, it's over with. I have no more need for the art. But that is why I am happy to sell the piece and move it on to someone who can have the experience of the viewer. it's a completely different experience that I can never truly have concerning my own art. That is why I don't have any of my art up in my office.
I used to, and it made me feel like I was living in the past, in the experience I already had. I gotta keep moving forward, like a shark. As you know, if a shark stops moving forward it dies.

Do you see yourself continuing with sketch card sets?
Actually, I see it myself doing sketch cards for a little longer. Things are starting to pick up with my illustration career, and there is less and less time for me to do sketch cards.
I've been doing less and less for each set. But fans don't have to worry. Most likely I will have some sort of hand in the sketch card world for years to come. :)

Is there any advice you would like to give to people wanting to break into the sketch card ‘biz’?
Can't really say a lot due to our book, but I can say just love what you do. If you aren't having fun then your doing something wrong.

Can you tell us what future sketch card sets you'll be working on?
I'm working on the Marvel Archives with Rittenhouse Archives right now. I just finished Clone Wars Season 1 Sketch cards, and Major League Baseball 2009 for Topps.
I'll most likely do any Star Wars sets that contain sketch cards. I love Star Wars so how can I not?



What are you currently working on?
Right now at this moment I am working on my second base set card for Star Wars Galaxy 5, AND I am writing and illustrating "Sketch Card Mania" with Denise Vasquez. In fact we have to have a meeting right now to hammer out some stuff. Look for Sketch Card Mania next year in the Spring. All I can say is it's all about sketch cards, it's like nothing else you've ever seen, and it's going to be the MUST HAVE for 2009!

Where can people see more of your work?
You can always see my art at my web site
www.randymartinez.net
My Blog:
http://randymartinez.blogspot.com/
My FaceBook:
http://www.new.facebook.com/randymartinez40

Thank you so much for your time, Randy!