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reviews_and_ramblings) wrote2009-09-29 10:14 am
reviews_and_ramblings) wrote2009-09-29 10:14 am
Behind the Cover: Paul Richmond
I'm really glad to have as guest blogger Paul Richmond. I found Paul when he was "ONLY" an artist (only is such a restrictive word, Paul is a great artist!), and I posted some of his Cheesecake Boys. Than I recognized his name in a cover artist credits, Zero at the Bone, and thought: great, maybe the little cover artist world snagged a good name from the big art world. And so it was, from that first cover, Paul gifted us with more wonderful works, and now I'm glad to leave to him the ball. Read carefully, since this is an awesome blog on being a very professional cover artist, any author who has a cover by him is a very lucky author!
Shades of Gray by Brooke McKinley
"Thanks for inviting me back to share more of my recent cover illustrations. Since we last spoke, I have been a busy boy! I’ve never been one to do anything “just a little bit,” and now that I’m working on my twelfth cover illustration in two months, I would say I have officially jumped head-first into the world of gay fiction. And what fun! The authors have all been incredible to work with, and I’m greatly enjoying bringing their characters to life. You asked me to share a little about my process, which I am happy to do. I’ll even show you a few of my reference photos, which are always hilarious, and some of the sketches and in-progress pieces I’m working on at the moment.
The Hired Man by Jan Irving
However, first I would like to introduce your readers to a little online contest I’m launching today called “Uncovered.” The idea sprang from a conversation over quesadillas with my friend Maria, who said that many of my cover illustrations would make great fine art prints. Thanks, Maria! Now back in my studio, with no Mexican food to inspire further brainstorming, I can’t decide which one to release first. So I decided to leave it up to the people who know best – you! I’ve narrowed it down to three options, and I’d like to invite all of you to visit my contest page (http://www.paulrichmonduncovered.blogspot.com/) and vote for your favorite.
One person will be randomly chosen to receive the first in the limited-edition series of prints created for the winning cover image, and Dreamspinner will also send them a copy of the novel/novella with the prize. The winner will be announced on November 7 when I am the virtual “guest speaker” on Shared Wisdom (http://community.livejournal.com/shared_wisdom), so go vote and then be sure to join me on the 7th to find out the results. I can’t wait to see what you choose (and shameless campaigning for your favorite is strongly encouraged)! Many thanks to Elisa for letting me launch my contest here, as well as Shared Wisdom and Dreamspinner for helping sponsor it.
Veiled Security by Carolyn LeVine Topol
Ok, now back to business. Let me invite you into my studio to witness how a cover is born (I promise it won’t be anything like the medical shows that Dennis, my nursing-student fiancé, makes me watch). First, the publisher/author provides me with a basic description of the story, characters, and any ideas they’ve generated about the cover image. I’d love to be able to read all the books first, but until I make time for that speed-reading course I’ve always wanted to take, I rely on these summaries to help me get started. Perhaps the curiosity I feel over the details of the story is ultimately a benefit to the final image, eliciting that same response in potential readers. At least I would like to think so…
Patient Eyes by Andy Eisenberg
This is the point when I start trying to envision the image. If I can convince Dennis to put down his textbook long enough to pose for me, that’s my first choice. Unfortunately, I’ve kind of burnt that bridge thanks to some of the ridiculous scenarios I’ve concocted in the past for my Cheesecake Boy pin-up series. I can’t imagine why my Jewish honey would find it slightly undignified to pretend that he’s putting a star on top of a Christmas tree while his robe flies open to reveal a pair of skimpy, candy-cane printed undies! Anyway, option B is to recruit friends, who I must say have been incredibly good sports for some of my latest covers, but they’re busy people too who unfortunately aren’t able to be at my beck and call whenever I need a random cowboy silhouette or sketches of a flamboyant fashion designer. That leaves me with my third (and, by default, increasingly popular) option – me. The good-old self-timer on my camera has made it possible for me to become my own model, though extensive revisions are required at the sketching phase when this method is employed!
Mistletoe Madness
You may wonder why these reference photos are even necessary. I spent four years in figure drawing class in college, plus I’m pretty well-acquainted with male anatomy anyway, so couldn’t I just make it up? While I do use my imagination to invent elements of the scene and embellish upon the photos, I find it immensely helpful to have a reference image that depicts the more subtle details of light/shadow (even if I have to imagine how those things would fall across a bicep or butt cheek with a little more oomph than what I currently have to offer as a model). Maybe if I’d just hit the gym more, we could use my reference photos for the covers and save lots of time! :-)
Development of Facade cover
As it is though, I print out the best of my photos and begin sketching. This is where the detailed descriptions written by the authors come in handy. Sometimes they reference a specific celebrity who they would like their look to be patterned after, which is especially helpful (kind of like that photo of Jake Gyllenhall that I used to take to my hairstylist until he finally told me it was time to chase another dream). As I’m working on the sketch, I also pay attention to possible interactions between the image and the typography. Some illustrators prefer not to think about type, but I personally like incorporating this visual element, and scouring the web for the perfect font to compliment the image.
Facade by Zahra Owens
Once the sketch is complete, I scan it in, add the text to the image, and send it off for approval. If there are any revisions, I make the updates and re-send. Otherwise, it’s time to start making the magic happen! I transfer the sketch to a piece of primed masonite board, and paint the image using only black and white. This is different from the process I use with my other fine art paintings. It allows me to focus on working out the highlights and shadows without thinking about color yet. When it’s finished, I scan it in and do all the color digitally. That way, I can very easily click a button if I want to run through every possible color choice for that little sliver of the main character’s underwear waistband showing above his jeans (and believe me, I’ve labored over some of those decisions way too long!). This technique also allows me to easily make changes after I’ve submitted the image, in case the author or publisher would like to see a different color option somewhere. Usually, the changes, if any, have been really minimal because I tend to be a bit of a perfectionist about these things anyway. However, I’m always happy to accommodate any requests to make sure everyone’s happy with the final result.
Dash & Dingo by Catt Ford and Sean Kennedy
And that, my friends, is how a cover is born. I cut the umbilical cord and send it out into the world, and it’s always exciting to hear positive feedback from authors and readers who enjoy the images. Ultimately, I hope they will help people discover these wonderful novels and make them want to read the stories for themselves (just as I plan to do once they hit their release dates!).
The Golden Age of Gay Fiction edited by Drewey Wayne Gunn
Currently, I’m getting ready to do two new anthology covers, a children’s book about some kooky queens (and I’m talking about the crown-wearing, kingdom-ruling kind here), and paintings for a solo exhibition in Chicago this June called “Gay Day at Paulyworld.” Right now in my studio, I would say everyday is Gay Day at Paulyworld thanks to the fabulous opportunities I’m finding in the gay fiction market, and that’s just how I like it! I hope it’s just the beginning!
Here’s a list of current (and upcoming) titles where you can find my work:
“The Golden Age of Gay Fiction” by Drewey Wayne Gunn, MLR Press
(All the rest from Dreamspinner)
“Zero at the Bone” by Jane Seville
“Mistletoe Madness” anthology
“Veiled Security” by Carolyn LeVine Topol
“Patient Eyes” by Andy Eisenberg
“Dash and Dingo: In Search of the Tasmanian Tiger” by Catt Ford and Sean Kennedy
“The Hired Man” by Jan Irving
“Façade” by Zahra Owens
“Good to Know” by D.W. Marchwell
“Shades of Gray” by Brooke McKinley
“The One That Got Away” by Rhianna Aile and Madeleine Urban
“Broken” by Dawn Kimberly
“The Strongest Shape” by Tessa Cárdenas
Visit my website for more information and artwork: www.paulrichmondstudio.com
Shades of Gray by Brooke McKinley
"Thanks for inviting me back to share more of my recent cover illustrations. Since we last spoke, I have been a busy boy! I’ve never been one to do anything “just a little bit,” and now that I’m working on my twelfth cover illustration in two months, I would say I have officially jumped head-first into the world of gay fiction. And what fun! The authors have all been incredible to work with, and I’m greatly enjoying bringing their characters to life. You asked me to share a little about my process, which I am happy to do. I’ll even show you a few of my reference photos, which are always hilarious, and some of the sketches and in-progress pieces I’m working on at the moment.
The Hired Man by Jan Irving
However, first I would like to introduce your readers to a little online contest I’m launching today called “Uncovered.” The idea sprang from a conversation over quesadillas with my friend Maria, who said that many of my cover illustrations would make great fine art prints. Thanks, Maria! Now back in my studio, with no Mexican food to inspire further brainstorming, I can’t decide which one to release first. So I decided to leave it up to the people who know best – you! I’ve narrowed it down to three options, and I’d like to invite all of you to visit my contest page (http://www.paulrichmonduncovered.blogspot.com/) and vote for your favorite.
One person will be randomly chosen to receive the first in the limited-edition series of prints created for the winning cover image, and Dreamspinner will also send them a copy of the novel/novella with the prize. The winner will be announced on November 7 when I am the virtual “guest speaker” on Shared Wisdom (http://community.livejournal.com/shared_wisdom), so go vote and then be sure to join me on the 7th to find out the results. I can’t wait to see what you choose (and shameless campaigning for your favorite is strongly encouraged)! Many thanks to Elisa for letting me launch my contest here, as well as Shared Wisdom and Dreamspinner for helping sponsor it.
Veiled Security by Carolyn LeVine Topol
Ok, now back to business. Let me invite you into my studio to witness how a cover is born (I promise it won’t be anything like the medical shows that Dennis, my nursing-student fiancé, makes me watch). First, the publisher/author provides me with a basic description of the story, characters, and any ideas they’ve generated about the cover image. I’d love to be able to read all the books first, but until I make time for that speed-reading course I’ve always wanted to take, I rely on these summaries to help me get started. Perhaps the curiosity I feel over the details of the story is ultimately a benefit to the final image, eliciting that same response in potential readers. At least I would like to think so…
Patient Eyes by Andy Eisenberg
This is the point when I start trying to envision the image. If I can convince Dennis to put down his textbook long enough to pose for me, that’s my first choice. Unfortunately, I’ve kind of burnt that bridge thanks to some of the ridiculous scenarios I’ve concocted in the past for my Cheesecake Boy pin-up series. I can’t imagine why my Jewish honey would find it slightly undignified to pretend that he’s putting a star on top of a Christmas tree while his robe flies open to reveal a pair of skimpy, candy-cane printed undies! Anyway, option B is to recruit friends, who I must say have been incredibly good sports for some of my latest covers, but they’re busy people too who unfortunately aren’t able to be at my beck and call whenever I need a random cowboy silhouette or sketches of a flamboyant fashion designer. That leaves me with my third (and, by default, increasingly popular) option – me. The good-old self-timer on my camera has made it possible for me to become my own model, though extensive revisions are required at the sketching phase when this method is employed!
Mistletoe Madness
You may wonder why these reference photos are even necessary. I spent four years in figure drawing class in college, plus I’m pretty well-acquainted with male anatomy anyway, so couldn’t I just make it up? While I do use my imagination to invent elements of the scene and embellish upon the photos, I find it immensely helpful to have a reference image that depicts the more subtle details of light/shadow (even if I have to imagine how those things would fall across a bicep or butt cheek with a little more oomph than what I currently have to offer as a model). Maybe if I’d just hit the gym more, we could use my reference photos for the covers and save lots of time! :-)
Development of Facade cover
As it is though, I print out the best of my photos and begin sketching. This is where the detailed descriptions written by the authors come in handy. Sometimes they reference a specific celebrity who they would like their look to be patterned after, which is especially helpful (kind of like that photo of Jake Gyllenhall that I used to take to my hairstylist until he finally told me it was time to chase another dream). As I’m working on the sketch, I also pay attention to possible interactions between the image and the typography. Some illustrators prefer not to think about type, but I personally like incorporating this visual element, and scouring the web for the perfect font to compliment the image.
Facade by Zahra Owens
Once the sketch is complete, I scan it in, add the text to the image, and send it off for approval. If there are any revisions, I make the updates and re-send. Otherwise, it’s time to start making the magic happen! I transfer the sketch to a piece of primed masonite board, and paint the image using only black and white. This is different from the process I use with my other fine art paintings. It allows me to focus on working out the highlights and shadows without thinking about color yet. When it’s finished, I scan it in and do all the color digitally. That way, I can very easily click a button if I want to run through every possible color choice for that little sliver of the main character’s underwear waistband showing above his jeans (and believe me, I’ve labored over some of those decisions way too long!). This technique also allows me to easily make changes after I’ve submitted the image, in case the author or publisher would like to see a different color option somewhere. Usually, the changes, if any, have been really minimal because I tend to be a bit of a perfectionist about these things anyway. However, I’m always happy to accommodate any requests to make sure everyone’s happy with the final result.
Dash & Dingo by Catt Ford and Sean Kennedy
And that, my friends, is how a cover is born. I cut the umbilical cord and send it out into the world, and it’s always exciting to hear positive feedback from authors and readers who enjoy the images. Ultimately, I hope they will help people discover these wonderful novels and make them want to read the stories for themselves (just as I plan to do once they hit their release dates!).
The Golden Age of Gay Fiction edited by Drewey Wayne Gunn
Currently, I’m getting ready to do two new anthology covers, a children’s book about some kooky queens (and I’m talking about the crown-wearing, kingdom-ruling kind here), and paintings for a solo exhibition in Chicago this June called “Gay Day at Paulyworld.” Right now in my studio, I would say everyday is Gay Day at Paulyworld thanks to the fabulous opportunities I’m finding in the gay fiction market, and that’s just how I like it! I hope it’s just the beginning!
Here’s a list of current (and upcoming) titles where you can find my work:
“The Golden Age of Gay Fiction” by Drewey Wayne Gunn, MLR Press
(All the rest from Dreamspinner)
“Zero at the Bone” by Jane Seville
“Mistletoe Madness” anthology
“Veiled Security” by Carolyn LeVine Topol
“Patient Eyes” by Andy Eisenberg
“Dash and Dingo: In Search of the Tasmanian Tiger” by Catt Ford and Sean Kennedy
“The Hired Man” by Jan Irving
“Façade” by Zahra Owens
“Good to Know” by D.W. Marchwell
“Shades of Gray” by Brooke McKinley
“The One That Got Away” by Rhianna Aile and Madeleine Urban
“Broken” by Dawn Kimberly
“The Strongest Shape” by Tessa Cárdenas
Visit my website for more information and artwork: www.paulrichmondstudio.com
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