News 'Til Now
Excerpt from Green Meese Studio Vol. 1, No. 4, Winter 1996:
By now, many of you have received (and the rest will soon purchase) the
Duelist #9. Well, friends, I hope you'll share in my elation at making the
Featured Artist!! I received the call from the Art Director, Amy Weber, at
the beginning of October, and was absolutely stunned. I joined the
Magic: the Gathering group later than any artist previously featured,
and had only produced nine pieces for the game so far. While I had done
some Vampire: the Eternal Struggle (VTES) and Netrunner, it
didn't add up to anywhere near what I thought it would take to reach this
point. The schedule would be tough. Liddle did I know how much.
I had roughly a two month period to produce two large paintings and
a small one for the in-store display. No sweat. I had, at about the same
time, decided that I was able to quit my day job, and did so. Compounded
by the week before's commission to do work for the second VTES expansion,
Ancient Hearts, the first week of October was one of the best
weeks of my life.
Q & A
A gentleman called a few months back thanking me for the newsletter (I got
many such calls and letters, thank you). He also had a question about my
artistic style. He found it hard to say what the Randy Style was and
wondered why. As many of you may wonder the same, I thought I'd go into
detail about it. I'd also suggest reading the Duelist for other
Artists in this genre can often be categorized easily. There is the
fluid linework and gem-like colors of Quinton Hoover, Anson Maddock's
characterized faces, often with his signature features -- full lips, sexy
eyes sometimes colorless. Mark Tedin has a knack for organic flesh-like
textures. Drew Tucker's hazy, blurred watercolors, all just on the line
of insanity. I don't think I that instantly recognizable "touch" -- which
may be a Bad Thing. Certainly when looking at say a dozen pieces, the tie
isn't so noticeable....
First, while I greatly respect all the artists above, I don't feel the
same need to do things with a certain style intentionally. In my opinion
this can be limiting, and this genre is one of infinite possibilities. In my
work, I strive to make each piece a unique story or emotion. The titles of
pieces are so far from each other, that I feel it would be an injustice
if, for instance, you could easily swap my illustration of Middle-Earth's
"Glorfindel II" for, say, Ice Age's "Conquer". I strive to make
each piece of mine unique, hopefully adding my own concerns as well.
These things I will say carry over piece to piece:
I think that if you apply these things to my work, you'll find them to be
pretty consistently true.
Rich Colors. I never use color from the tube and stay away from
bottle dyes because I really like the deep colors in old master paintings.
I layer in such a way that colors show through top colors.
Strong Lighting. Most of my pieces do something not all artists'
do consistently. In my work, you always know where the light is coming
from. I try to use light dramatically in all my work, and have developed
a reputation for it already.
Realism. While I hope I never become a photorealist, I do like
my work to look as if it could really exist, and yet make it undoubtedly
a painting. It's a delicate line the old masters used to toe. You never
had a doubt that a Leonardo was a painting, yet those figures weren't
comic-like. They could live and breathe despite being on a canvas.
A Degree of Seriousness. I don't take myself too seriously, but I don't
feel properly equipped to create humorous or "sexy" imagery. I would much
prefer to paint sensually (as in "Infuse", than to be overtly sexual. It's
not my cup of tea.