Monday, November 28, 2011

Champions of the Heroic Tier

Thought I would share a cover I did for Wizards of the Coast. Champions of the Heroic Tier (Wizards of the Coast 2011) I'm including my original thumbnail and the final cover. Fairly self explanatory, but a fun painting, lots of fiddly bits and action!



Friday, November 25, 2011

Artist of the Month- Prokofiev (Peter and the Wolf)

This month I am inspired by my daughter's interest in Peter and Wolf by Sergei Prokofiev (1891-1953). Listening to the New York Philharmonic production my daughter was enthralled by the audio and developed a whole narrative in her mind. Trying to watch the Disney version she was disturbed that the story did not follow her imagination and I quickly disposed of the rendition to allow her to imagine the story in her own way. I thought that this would be a great concept-art learning moment for students and artists to interpret the music in their own way. Attached is the audio for the Leonard Bernstein , New York Philharmonic Production of Peter and the Wolf (1960). I encourage you all to listen and interpret the story your own manner...

Peter and the Wolf-Bernstein


Wednesday, November 16, 2011

Battle Cleric Redux

After my last post I decided that it might be fun to revisit my twenty year old character of the Battle Cleric. Its twenty years later and the bearded priest has leveled-up more than a few times. His adventures have left him scarred but wiser....aren't we all.

A battle hardened veteran, and still a bad-ass undead killer.



"Battle Cleric Redux"
6"x9" digital
©2011 William O'Connor Studios

"Battle Cleric"

9"x12" pen and ink
©1991 William O'Connor Studios

Sunday, November 13, 2011

It Was Twenty Years Ago Today

This month is the twentieth anniversary of receiving my very first commission. I never could have imagined that I would have the opportunity to do this work for twenty years! Its a bitter sweet reflective moment and thought I would share my memories.

In the Summer of 1991 I was studying illustration at Parsons School of Design. Although I was a Fine Arts Painting major at Alfred University my parents insisted that I should have a more practical back-up plan, and it was commercial arts or teaching. My instructor at the time suggested that I try pen and ink, since my sketchbook was filled with unfinished drawings. On his demand I rendered the image above (Battle Cleric, 1991), and promptly put away my pen and inks.

Two month later once back at University I was 
encouraged by my gaming friends that I should send off my portfolio. In an attempt to get it out of the way, and get back to my "real work" I sent off color copies and my one B&W to three publishers. TSR, White Wolf, and Isaac Azimov's. Peggy Cooper at TSR sent me a very encouraging form letter, I am still waiting for a reply from Azimov's, and I received this letter from Josh Timbrook and Ken Cliffe at White Wolf. Yes, I am so old that correspondences (and sketches) between artist and AD were sent via mail!

Within a week I called the White Wolf offices from my dorm hall phone (Yes, No Cell Phones! No Email.) I talked with them and they hoped I was available to produce 27 pen and ink illustrations for a new project "Ars Magica 3rd Edition". I agreed, assuring them that I was on the job, and that it was no problem. I was terrified!

My memories of the job are still very vivid in my mind. I remember my first thought was that I had been hired, and I had only done one pen and ink in my entire life! I didn't really know how to work in pen and ink. I went to the library and pulled out every pen and ink and woodblock artist I could find (again, no internet, just the old card catalog system!) I found Albrecht Durer, Howard Pyle, and several Golden Age Illustrators in the children's section of the local public library. These I made copies of and wallpapered my studio. If I had to render grass I found a Pyle's Robin Hood illustration with grass and copied the technique. If I had to paint wood, I looked to Durer to see how he did it. In this way I managed to scratch out 27 illustrations.

That was probably the biggest learning curve on a project that I've ever experienced. I learned more about the publishing industry, composition, design, drawing and illustration in two months than I could have learned in ten years of school. I remember that the most exciting part was that I was going to be published. In a hundred years, after I was dead, this artwork would still exist somewhere on a bookshelf.

I think what is most interesting is how different the market is today. The business of fantasy art is unrecognizable from two decades ago. There were no websites or art blogs. There definitely weren't any art challenges or portfolio reviews. There was no Comic Con and no Spectrum. This was before Magic The Gathering, Harry Potter, World of Warcraft and Lord of the Rings. Before the term "Concept Art" was in reference to anything other than performance installations. Before Fantasy became an international multi-billion dollar business. It was a very small industry with very few people in it. Everyone knew everyone else. You sent them your work, and if they like you they hired you. No recommendations, no workshops, no followers or page views. No symposiums or master classes. No style guides, no R&D, no creative directors or crowd sourcing. Twenty years ago was just an artist and the art director on the phone making stuff they liked. The X Generation produced some stellar artists. Among my fellow classmates of '92 include Donato Giancola, Irene Gallo, Tony Diterlizzi, and Rebecca Guay. I'm very interested to see what the next twenty years will bring!

Enjoy this very limited gallery of a few pieces that I did for that project, twenty years ago.



Ars Magica and Artwork ©Atlas Games

Thursday, November 10, 2011

The Deck of Many Things

Every once in a while you are thrown a curve ball as an illustrator and a funky project lands in your inbox. I had actually forgotten about this assignment since it was commissioned so long ago. "The Deck of many Things" was a 23 card assignment to produce playing cards that would be used as props in the game "Madness at Gardmore Abbey" (Wizards of the Coast, 2011.) Actually the deck was commissioned to be released with the D&D online magazine, and was presented as a rush job to be released the following month. With roughly twenty business days to produce the artwork I presented a mock-up image to the art director of what I felt confident I could produce under the tight deadline and still deliver on schedule. In the end the project was shelved and the rush was not necessary. (The foibles of publishing). The image shown here represents the original card back that I was rather partial to. Months afterward I was commissioned to re-design the card back because a yin-yang symbol would not be contiguous with the game universe.

Aesthetically the challenge was not to make the images look like contemporary cards, but rather like antique objects or an old woodcut tarot deck. It was a fun assignment, and a lot of work to complete 23 images in 3 weeks, but one of those assignments that only comes along once in a blue moon.