Frequently Asked Questions:
I would have never dreamt my art would create opportunities for me to travel, not only throughout the United States but also in Europe. Each year I’m invited as a guest to many conventions and I usually attend about eight to ten of them. It’s at these conventions where I get to meet the many people who enjoy my art, and they ask a lot of questions about my art and myself. I will try to answer a few of the most popular questions.

Q. Can I use your images?

A. You can use the images. All I ask is that you give me credit and make a link back to my website. Thank you for asking!

Q. How long does it take you to do a painting?

A. It depends. My average painting is 20x30 inches, and I schedule two weeks from sketches to finished art.

Q. Do you paint in oils or acrylics?

A. I can paint in both, but 99% of my paintings are done in oils. I believe that oils are much, much easier to work with.

Q. Do you use an airbrush?

A. I've only used an airbrush two or three times in my art. The last time I used one was around 1987 in an acrylic painting. I think I have an airbrush around my studio someplace, unless the kids have carried it off.

Q. Do you paint on canvas?

A. On rare occasions I will paint on canvas or linen, but the great majority of my work is on masonite. It’s a hard, heavy, slick-surfaced, compressed board one quarter or three-eighths of an inch thick. I prime the board with two to four layers of white gesso. Then, I give it a quick sanding with fine sandpaper to get rid of lumps, dirt or anything that may interfere with a smooth surface.

Q. How do you start a painting?

A. I do a complete drawing at a comfortable size — it doesn't have to be the size the painting is going to be. Next, I run over to an office supply store or some business that has a nice photocopier, and I blow up the size of the drawing to the size I am going to paint it. This usually ends up being on several pieces of 11x17 copy paper. Then, I transfer it down to my primed masonite board. I do that either with a type of transfer or just cover the back of the copy with pencil lead and then trace it down. I start the painting from the back (usually the sky) and paint forward. I normally use round soft sable brushes. Sometimes I’ll under-paint, but usually I don't. I paint opaquely and in layers. I also glaze quite a bit and do a little dry-brushing.

Q. What kind of pencils do you use?

A. Bs - B, 2B, and 4B are my main pencils. I have used HS, but do not prefer them.

Q. What kind of paper do you use?

A. While preparing for a painting I use tracing paper, for a good drawing I use 2 ply Bristol or Strathmore.

Q. What gives you inspiration?

A. I am inspired in two ways: By the book - I read the book, and pick a scene that represents the total feeling I get from the book. My own ideas - Through music, reading, daydreaming, seasons, people...just about anything can give me inspiration.

Q. What individuals have inspired you during the course of your creative growth and nurturing as an accomplished artisan? (this could be anyone, whether they be artist, celebrity, or friend)

A. Realist painters in Europe and America in the late 1800's and early 1900's. These include the pre-raphaelites, N.C. Wyeth, Maxfield Parrish and other early American artists and illustrators.

Q. Among your contemporary peers, who's work do you admire most?

A. I was most influenced by Frank Frazetta and have always loved Jeff Jones's work. Hilderbrants Bros was also a big influence.

Q. What state of mind do you have to be in to draw for Dungeons & Dragons?

A. A normal state of mind. It is my job to try to show the excitement of the game or book.

Q. How many characters have you created and please list some of them?

A. I totally created all of the Snarfquest characters and the world. Otherwise, the authors are who create the characters. I just give them their look. Some Dragonlance characters are Raistlin, Tanis, Tasselhof, and Laurana.

Q. Do you consider yourself an illustrator first, and painter second?

A. I want to be a painter first, but to make a living, I did it by being an illustrator. Now I am at the point that I want to be more of a painter and paint for myself, instead of illustrating for other people.

Q. What is the most rewarding experience you receive from being a successful artist? (not necessarily the monetary)

A. When I am told stories from my fans about how my work has inspired them or changed their life in some positive way. That means the most to me.

Q. What "words of wisdom" would you offer any inspiring artist that would help guide them towards their dreams and aspirations? (example: "Aim high", "perseverance")

A. Tremendous dedication to your art' 'Give 200%' and 'Work hard'

Q. How does one get started as an illustrator in this business?

A. Your art will speak for you more than anything. Give it two hundred percent. The competition is getting tougher all the time, so your art must be really good just to compete. Target the type of publishers you want to work for, be aware of the type of art they publish, and make sure your art is competitive. Send your portfolio, and do not get depressed if you hear nothing or get a nice rejection. Just submit again a little later. Sometimes, publishers are extremely busy and they don't have time to respond, or they honestly do not need any art work for a few months. Also, you may want to enter your work in the art shows at major fantasy and sci-fi conventions, or at least bring your portfolio. Usually, art directors are there from many different publishers looking for new talent.

Q. With numerous years of professional experience under your belt, what prominent changes have you noticed in the industry?

A. This has grown to be a very large industry and I feel that some of the best young artists are choosing fantasy art as a way to express themselves.

Q. If fate deemed that being an illustrator was out of the question, what other professions would you aspire to?

A. Some kind of teacher, maybe history

Q. What are some of your favorite, or most ingenious, uses of your artwork?

A. My art is on some postcards that are sold in Roswell, New Mexico depicting the famous UFO incident.

Q. How much creative input do you have in the development of Sovereign Stone source material and supplemental products?

A. Because I am so busy, not as much as I'd like to have. However, I do have more input with them than on other projects I have worked on.

Q. While growing up in Kentucky, what got you interested in illustration and painting?

A. Drawing always came naturally to me. It was something I did for
entertainment.

Q. Was there anything else you even considered being?

A. A teacher, maybe History.

Q. Where are you from?

A. I think the "where are you from" question is asked after I’ve been talking to someone for a moment and they detect an accent. By now you know I'm from Kentucky and have a moderate southern accent. At least I think so... y'all.

Q. What got you started in this type of art?

A. Ancient history, I was drawn to it, no pun intended. As a child, sometimes while paging through an old book or magazine, I would stumble across a painting or illustration depicting a Viking long ship, an old Northern European landscape, a knight or some ancient European warrior, and, for no apparent reason, I would be mesmerized. It wasn't just the art giving me these emotional rushes that almost felt like old memories, but the subject, the setting, and the time period of the art. As I got older I became more aware of this strange attraction and by my senior year of college, 1970, I had discovered the Celts, and I knew my search was over.

Q. What is your educational background?

A. I received a Bachelor of Fine Arts degree, with painting as my major, from Western Kentucky University. And I must add that the two years in the Army, directly after college, were very much an extension of my education.

Q. I know you got a BFA from Western Kentucky U., how did going there help you find your place in the illustration world?

A. I started out to be a High School Art teacher, but my instructors convinced me that I was talented enough to be an illustrator. I was scared to death. I truly did not think I was good enough, but again, they convinced me to try.

Q. In your opinion was it worth it?

A. Yes!

Q. Is your studio in your home?

A. Yes, and it’s always a mess. I tell visitors it's not a showcase, it's the place I work and spend 95% of my waking hours.

Q. What are your hobbies and what do you do to relax?

A. The job of an illustrator requires strenuous exercise such as sitting in one place and painting for twelve hours straight. There are great bursts of activity. Like the inspiration that comes while I eat pizza with my feet propped on my desk. Because of the side-effects inherent to this job, I started gaining a little weight a few years ago. Basically, I was getting as big around as I was tall, and along with that came a few little health problems. So, the doctor told me to lose weight, and he didn't care how, just do something. Hey, I'm not stupid, I had been getting beautiful models from the gym for years, it seemed like a great place to hang out. So, the next day I was there, ready to pump some iron! At first I thought I had gone to hell, it nearly killed me. But now, two and a half years later, I am addicted.

My other stress reliever is my old car. All my life I’ve loved old cars, especially street rods. Right now, I have a 1930 Ford coupe. The car is small, only two people can fit in it, tightly. It has around five-hundred horsepower and is very light. It is a blast to ride, kind of like a roller coaster! At times it can scare ya, but that is the stress reliever, a little fear mixed with some adrenaline. I can take the coupe out and run some back roads for 20 or 30 minutes, and when I get back all the stress is gone, and it feels good to be alive... really, it feels great just to be alive. I think I've always been addicted to excitement (I also like motorcycles, I have had a few).