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I have always worked in a studio in my home, even if it consisted only of the family room table and a drawing board in my lap. My studio now is mostly in the former dining room, and contains a drafting table, flat files, storage cabinets, many books, bookcases and file cabinets, a costume wardrobe, a computer workstation, an artograph for enlarging, and photofloods for lighting and model "shoots."
First I get the manuscript or outline from the publisher, read it, and think about it for a day or two. Sometimes with the publishers' permission I call the author for more information or preferences. Then I make thumbnail sketches in my drawing book until I'm sure that the proportions and movement within the design will work. I may do some research from my picture files or the library. From there I make a pencil sketch of my cover design to the size that it will be published. Then I make photocopies of the sketch on 100% rag paper and paint and mount the copies. These are the color comprehensives that I take in to show to the editors or art directors.
After getting their okay or finding out what changes they want, the heavy work begins. I usually do my own photo reference "shoot," using myself and/or friends and family members as models. I gather up all the photos and reference books and pages from magazines and start on the drawing for the final art. It is usually 3 to 4 times the size of the published book. This drawing, done with graphite pencil on 100% rag vellum, is very detailed. I work out so many problems at this stage that I often don’t need to look at my references again!
I then transfer the drawing by tracing it onto the illustration board. I use Crescent 100% rag cold press illustration and rough watercolor boards, usually with a thin coat of gesso. I like a toothy, somewhat media-repellent surface. The paint stays on top, holds it's edge better, and builds transparent layers. In art college they told us a big expensive brush with a good tip was all you needed, but in real life all I seem to use are those cheap white synthetic brushes, and the size I have in hand always seems to be a #1. I always have a lot of little details to do!
I use acrylics or oils for all my paintings. I use black ink at times to get a true black, and gouache, enamel, and Liquid Leaf for my metallic colors.
In acrylics I use thin washes of color, building them up and rarely blending both white and black into a color. That flattens and muddies things. Acrylic white makes colors go cold, so I often put a wash of yellow-orange over it after it goes down.
I am still experimenting and developing my style with oils. I find the technique quite the opposite of acrylics as I have to mix my colors before hand and apply them rather thickly. I use cobalt drier to speed drying times and linseed oil for that clear, luminous look.
I usually start the painting by doing the main character's face and hands. Then I finish their hair, clothing, accoutrements, and go on to objects or figures next in importance. Background comes in after that, and usually the sky is last.
While I work on the final painting, I love to listen to book recordings. One half of my brain busily paints away, coordinating colors and modeling, while the other half is usually immersed in some tale of the 19th century. It is a delightful way to work and a really gripping novel is an excellent way to get a lot of painting done!
The color comp guides my color choices on the final art, and matches it quite closely, to the relief of one's clients. I always leave room for the type and occasionally design that in, as well. Finally, I touch up the areas to match one another. Then I spray it with workable fixative or Kamar varnish, put a nice cover on the board, and it's ready to turn in to the publisher.
It used to take me a month to complete a cover painting, from receiving a manuscript to delivery of the final art. That was in the old days, when I lived a hermit-like existence, forever puttering about the drawing board, "a slave to art." With young children to care for, the best I can manage now is a two-month completion time. The publisher keeps the artwork for anywhere from a couple of months to a year and a half. The artwork and all other rights and uses still belong to me; publishers usually just buy 1st N. American cover rights and book advertising rights.
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