WHAT KIND OF AIRBRUSH DO YOU USE? ] [ HOW DO YOU CHOOSE YOUR SUBJECT? ] [ REFERENCES: WHERE FROM? ] [  BEGINNERS ADVICE

WHAT ] [ HOW LONG'S IT BEEN? ] [ ARTISTIC INFLUENCES ] [ MEDIUMS

1. WHY DO YOU TELL PEOPLE YOU ARE ONLY A ONE PERSON COMPANY? - Well, it's no secret that this isn't a large operation here. I guess I could "front" like I'm a bigger design firm. I could probably charge 4 times as much, and work 4 times less, but that's not how I want to run this business. Here's the better question. Why would anyone go to a larger design firm when they can get the same (usually better) quality of work for less money, and work more closely with the designer actually doing the job? I've worked with a lot of clients over the past 10 years. Over 300. But if I tried to just high-ball every prospective client, and only try to land the big fish, I'd be saying goodbye to a lot of cool contacts..
   
   
   
2. I HAVE A VERY FIXED BUDGET BECAUSE YOU KNOW THAT TIMES ARE HARD. IS THIS A PROBLEM? - Nope, that's fine. I'm a small operation too and know exactly what that's like. When it's your money you're spending you have to be careful. Whether the job is $300 or $3000, I'll make sure that I do whats needed with what you can spend.
   
   
   
3. DO I HAVE TO PAY YOU UPFRONT? - When I first got Fantasy Beyond running, the answer to that question was "naaahhh, I guess not." Now that I've been doing this for about 15 or so years, the answer is a resounding "HELL YES!!!" -LOL Wanna know why? Come closer. I'll tell ya!
   
   A - I've gotten screwed. Yep. It sucks!
   
   B – If you pay me, I'm going to do work for ya. It's just that simple.
   
   C - And the best reason of all. If you've already paid me, then the quality of work WILL be better. Does that make sense? Sure it does. Money paid up front means I can work happily without rushing and worrying, "well what if this person screws me, I will have wasted time." After all, a paid designer is free to create.
   
   Anyway, after you figure out what you can spend, I'll fill ya in on sending money with paypal. Or we can exchange funds by using those messy pieces of paper with numbers on them.
   
   
   
4. UM, NO PHONE NUMBER? I CAN TALK BETTER THAN I CAN WRITE. - I have a phone and I'm really private with giving out the digits to strangers. But it all depends on if we are having a failure to communicate. Maybe. But you just can't beat good ol' e-mail. I likes everything in writing.
   
   
   
5. OKAY, WHEN CAN YOU GET STARTED? - All depends on what my schedule is like. But usually shortly after payment, I can start right away. If I can't start right away, I won't be taking your money. Plain and simple. And on top of that, my ability to string together words into semi coherent thoughts may just impress you. So, how can you reach me? How about hitting me up at fantasybeyond@hotmail.com
   
   
   
6. WHAT KIND OF AIRBRUSH, PAINT, ETC., DO YOU USE? - Right now I'm using 4 different types of airbrushes. The Paasche VL for my heavy background spraying, the Thayer & Chandler Omni 5000G which I totally abuse as my workhorse airbrush, the crown jewel of the 4, the Iwata HP-SB Deluxe for extra-fine detailing and its sister, the Iwata Eclipse. I use Createx paints mostly, but tend to switch up from time to time and use Badger paints and the Medea Com-Art colours.
   
   
   
7. HOW DO YOU GO ABOUT CHOOSING THE SUBJECT I PAINT? - For my personal portfolio stuff, it ranges between the challenge of doing such a project, or maybe just to test my abilities to see how far I've progressed. I used to shy away from portraits. Now I welcome the challenge of doing them. Most of the time, my picking a subject to draw has evolved from thumbnail sketches, from dreams or a diversity that may reside within a given subject. I don't like to repeat my work. I'd like for a customer to see a wide variation in my illustrations.
   
   
   
8. WHERE DO YOU GET YOUR REFERENCES FROM?! - Believe it or not, everywhere. Television, magazines, movies, internet and even LIFE!
   
   
   
9. DO YOU HAVE ANY ADVICE FOR BEGINNING AIRBRUSHERS? - Challenge yourself. It's the only way you'll ever know how far you've progressed. Practice over and over again. And be able to take constructive criticism. It really does help.
   
   
   
10. IF YOU WEREN'T AN ILLUSTRATOR WHAT WOULD YOU LIKE TO DO? - This is a tough one because I've only pictured myself as an artist. But if I were to have visualized myself as anything else, it would've been a doctor. The ability that a individual has, to save a life or to play the role of a healer is intriguing to me. It sounds weird to even hear me say that now. The concept of me not drawing is one that I've never entertained at any given time in my life.
    
    
    
11. HOW LONG HAVE YOU BEEN USING THE AIRBRUSHING? - I first picked up the airbrush back in 1989, so it's 20 years and counting.
    
    
    
12. WHO ARE YOUR ARTISTIC INFLUENCES? - In no order they are Boris Vallejo, John Byrne, Julie Bell, George Perez, Neal Adams, Dorian Clevenger and Drew Struzan.
    
    
    
13. WHAT MEDIUM DO YOU USE? - I already mentioned the airbrushed I use as well as the paints. My illustration boards of choice are the Crescent No. 201 Hot Press Illustration Board which is great for airbrushing on. It has a very smooth surface, and can also be used for pen-and-ink among other things. It's a medium weight board with high rag content and comes at 16-ply thick.
    
    
    The Crescent No. 300 Cold Press Illustration Board is a good illustration board as well. I only use it when I do heavy pencil work prior to my pen-and-ink and airbrushing. It's surface is slightly textured, perfect for that watercolor and gouache. For my film work I love the low tack Frisket film. It's a transparent masking film that is compatible with almost all surfaces. It's easy to peel and leaves no residue on the illustration board.