The DOODLES, DESIGNS, and aRT of CHRISTOPHER BURDETT: April 2021

Friday, April 30, 2021

Kickstarter Roundup - Hooker

Today on the blog, I wanted to point out a Kickstarter project that launched today that I think you all might be interested in. I am thrilled to share this Kickstarter with you because not only is this person a fantastic artist, but he is also a super cool guy and a good friend. If you have not already checked it out, you should do so NOW!

Daniel Hooker: Mermaid Mayhem: A Deep Sea Card Battle for Glory

We have known Daniel for years, and he is a local artist that has made comics, mermaids, monsters, and more. On top of that, he is an all-around great guy, and I am always eager to support his projects, and I think you should too. Daniel has created a series of inclusive mermaid art for the last several years, and now he has created an entire mermaid game! I couldn't be more excited.

"Mermaid Mayhem is an exciting card based adventure for ages 8 and up! Take your mermaid battle squad on a danger filled treasure hunt. Grow your party and punish your foes as you race to claim the most treasure."

There is more information, art, and many tiers to support this project on the campaign page. I hope you can take a moment to check it out and hopefully lend your support to make Daniel's game a reality!

Just a glimpse of what in instore, be sure to head to the campaign page to learn more about this awesome game!

That's all for another exciting week on the blog. See you back here next week! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Wednesday, April 28, 2021

Orcus Figurine - Dungeons & Dragons - Process

Today, I am happy to share the process and steps that went into one of my four illustrations in the recently released Dungeons & Dragons supplement, Candlekeep Mysteries. I decided to share the Orcus Figurine with you first. It was the first of the four paintings that I created, so it seemed fitting to share the process for it first. The Orcus Figurine was described as being a small figurine of the god of death, Orcus. It is carved from the petrified heart of an ogre (if I remember correctly) and is a ghastly grey color. That seems straightforward enough. Here is the final painting for the Orcus Figurine.

Orcus Figurine

Candlekeep Mysteries

11 x 14 - Digital

Art Director - Kate Irwin

While I stress the importance of reference, sometimes it is a matter of sitting down and pulling from your skillsets and making it happen. I had plenty of Orcus reference to ensure that the figurine looks like Orcus, but other than that, I was drawing from my head and trying to make something cool. This piece could go in a lot of different directions, and so I wanted to cover my bases and submit a few more options that I typically do. To be honest, I was unsure of where this one was headed and assumed that there would be a second round of thumbnails as the art director and I zeroed in on the desired look. Here are the thumbnails that I submitted.

Orcus Figurine - Thumbnails

My assumptions were correct, and I was requested to give this one another pass. I was nearly there, but production wanted me to address some aspects of the design. They liked that it looked like Orcus, but they were concerned that it looked too much like Orcus and not enough like a little carved statue. To that end they wanted me to square off the anatomy more and simplify everything. The wand needed to be shifted to the shoulder so it was more structurally secure, if not, it would have likely snapped off long before the player encountered it. Production felt a base that was uncarved heart would help the look. Like what I did in the fourth thumbnail above, but more like a base and less like unfinished work. I was also asked to make sure that the horns looked like horns and were in no way hair. I took all of this into consideration and go to work on a new thumbnail.

Orcus Figurine - Revised Thumbnail

This time I hit the nail on the head, and this new thumbnail was approved. I was asked to make sure there was plenty of wear and tear, hard edges, and smooth weathered edges throughout the design as I moved forward with the finalized drawing. I was also asked to make sure that there was plenty of heart detailing to play up that it is carved from a heart. I got to work on the line art and the final drawing for this piece. Here is the final drawing for the Orcus Figurine.

Orcus Figurine - Drawing

Candlekeep Mysteries

11 x 14 - Pencil on paper

Original - AVAILABLE

Art Director - Kate Irwin

The drawing was approved, and it was time to paint. I often talk about some paintings going very smoothly and quickly, and this was a prime example of that. This statue is practically monochromatic and has a straightforward form. There were no problematic textures, lighting, or palettes to deal with. It is a grey-green figurine of Orcus with one light source; it does not get much easier than that. Here is a look at the Orcus Figurine taking shape.

Orcus Figurine - Process

You may notice that I adjusted the right hand late in the process. I felt the adjustment resulted in a more pleasing look and ensured that the two hands better matched. This is the kind of painting where I put on something I am familiar with to listen to and just zone out and let the painting take shape. This might sound weird, but after doing this work for as long as I have, sometimes the work takes care of itself. This does not happen all the time, but when it occurs, I take advantage of it. Here again, is the final painting for the Orcus Figurine.

Orcus Figurine

11 x 14 - Digital

That's all for another exciting Wednesday on the blog. See you back here on Friday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Monday, April 26, 2021

2021 Convention Schedule

One of the significant losses for working artists of 2020 was the cancelation of in-person conventions. While there were online events, it was a mixed bag for me and others I spoke with. I had some excellent online events and some complete disasters. A lot depended on the effort you put into it, and at different times during last year, I had more or less energy to spare. But that was then, and now it is 2021! Unfortunately, COVID19 is still with us, and the world is still very much in the grip of the pandemic. With the vaccine being administered at an astounding pace here in the US, conventions are gearing back up.

While I am thrilled to see a return to social events and conventions, we are not prepared to take part in them. As you may or may not know, my wife is an ER nurse. 2020 was hard on all of us, but it was beyond description for her and many other front-line workers and medical professionals. We are not yet ready to be involved with events that will have crowds of people. While I have been invited to be a guest at serval events this year, I have had to postpone the invitation until next year. My Featured Artist position at Gen Con will be waiting for me in 2022 as well. While I will not be attending Pensacon, Infinity Con, and Gen Con this year, if IX happens in October, there is a good chance that we will be in attendance. It is a much smaller event with a much more manageable volume of people. Fingers crossed that IX happens and that things continue to improve regarding our response to the virus.

Sadly, I will not be present at most of my usual events this year.

We are planning a standard year of conventions for 2022. I am especially looking forward to Gen Con 2022, where I can finally debut my book and have the celebration that was meant to occur in 2020. Hopefully, it will only be two years late, which is still better than not happening at all. We are trying to make the best of things while trying to stay safe and protect all those around us. I know that all of these events will be amazing and that the organizers are doing everything they can to ensure a safe and fun event. We are simply not ready to deal with the crowds. We miss our convention family and friends immensely, and we can't want to see them all again.

That is all of another exciting Monday on the blog. See you back here on Wednesday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Wednesday, April 21, 2021

Trandoshan Mercenary - Star Wars - Process

Today I have you the process and steps that went into my Trandoshan Mercenary painting for the Star Wars LCG set, Aggressive Negotiation. Before we get to that, I wanted to share some thoughts about the significance of this piece. This painting was the very last Star Wars illustration that I produced for Fantasy Flight Games. In fact, this was the final painting of any kind that I created for that company. At the time, I am not sure if I knew it would be, but deep down, I think I might have. I was not originally going to take this assignment. I had gotten into the habit of turning down anything that they offered, but Erik Dahlman specifically wrote this card for me and requested me by name. So I took the job. I had long remarked my wishes to paint a Trandoshan wielding a vibroblade, and there was finally an opportunity in the game for it, so Erik made sure I got that chance. You can't say no to that.

I had been drifting away from FFG for a while at this point, and I knew it was only a matter of time that I would full severe ties. My opinion of freelance work, in general, was already changing and my attentions were beginning to be solely directed at The Grand Bazaar of Ethra VanDalia. When I started working with FFG in 2009, I never imagined the opportunities and projects I would work on, the fantastic art directors I would work with, and the exposure my work would receive. There were a lot of fun times, but in the end, there was only so long I could keep returning to them for work. If I was going to have a final painting with them, I am glad it was this one. If you are familiar with me, my work, or this blog you know my love for lizard monsters. The Trandoshan bounty hunter, Bossk, is my favorite Star Wars character and I have created many Trandoshans for the FFG games. So at the end, there was one last space lizard monster to paint.

In addition to this being my last painting for FFG, this was the last time I produced a traditionally painted image. I had been shifting back to digital work for my client work, and for my personal work, it has become exclusively a combination of colored pencil, white acrylic, and black ink on paper. If I was going to have a final traditionally painting, for the time being, I am also glad it was this one. I really felt like I was beginning to find a sweet spot with the materials. At the end of the day, I draw when I make art. It might be a pencil, digital stylus, or brush, but I am always drawing. With this painting, I finally felt like I was painting. There are marks that I was making with the brush, and I was laying paint down in new ways. I was really excited by what I did in this piece, which is why I am not parting with it.

Time to talk about making this final Star Wars painting! To start things off, here is a look at the final version of the Trandoshan Mercenary.

Trandoshan Mercenary

Star Wars LCG - Aggressive Negotiation

14 x 11 - Acrylic and pencil on board

Art Director - Taylor Ingvarsson

Original - NFS

With all of my creations, I started with reference. Since I am not in my underwear this time, I can actually share some of the images that my wife took of me acting out my best space lizard life. At some point, I will talk about and share with you the look and feel that I was creating my Trandoshans in the various Star Wars games. I really wanted them to have a related look and feel. I was doing my own Trandoshan world-building in the paintings I was doing for FFG. Here is a selection of reference photos for this painting.

Trandoshan Mercenary - Reference

Photos by Achsa Nute

Now that I had reference, it was time to work up some thumbnails. One of the significant challenges with designing card art for FFG was the large amount of chrome the cards have. There were card elements that could potential be encroaching on nearly every side of the card, but we always somehow made it work. It sometimes left you with a painting with a lot of dead space on parts of the composition, but in the end, the card looked good. I knew I was cutting it close with these, but I always tried to push my compositions to see what I could get away with. Here are the thumbnails that I submitted.

Trandoshan Mercenary - Thumbnails

Option 'B' was approved without changes, and I was given the go-ahead to move forward. I was rather surprised I didn't need to adjust anything, but excited that I could produce an image that better fit the surface I was working on. I got to work on the drawing and submitted it soon after the thumbnails were approved.

Trandoshan Mercenary

Star Wars LCG - Aggressive Negotiation

17 x 14 - Acrylic and pencil on board

Art Director - Taylor Ingvarsson

The drawing was approved as well, and I was ready to start on the final painting. Wait, no, stop everything. At the last second, I was asked to shrink the entire image and add a lot of bleed to the top and sides. This came late in my process, and so the edits were made digitally to the drawing as I prepped it for the painting process. In the following animated process, you can see the two stages of the drawing and how much it needs to be reduced. This resulted in a lot more empty space on the sides and top, but as I mentioned before, it allowed all the chrome of the card to sit nicely over the image.

Trandoshan Mercenary - Process

I apologize for the darkness of some of the process shots. It was challenging to get good photos of my work as it is taking shape. The lighting is never perfect; the surface is often wet, which results in dark images with distracting glare. Hopefully, it gives you enough of an idea of how my paintings take shape.

My takeaway from this piece is to always paint as if it is your very last painting. Give the work your all. Commit yourself to the fullest and constantly push to do better. In the end, that painting very much may your last painting, and it better be a damn good one if there will be no more after it.

Here again is the final painting for the Trandoshan Mercenary and the final card it appears on. Once it is cropped and placed with the chrome, it looks great, and this may be the best printed of my traditional pieces. At least, I think so. While the painting was made in 2016 and the work was released in 2017, now, in 2021, this marks an end of an era. I have no more Star Wars work, or FFG work in general, to share with you. Reprints of my work may surface at some point, but for now, we close the book on this period in my working career.

Trandoshan Mercenary

Star Wars LCG - Aggressive Negotiation

Trandoshan Mercenary in handy dandy card form

That's all for another exciting Wednesday on the blog. See you back here on Friday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Monday, April 19, 2021

When Your Art is Never Used... AND Then Replaced

I have wanted to talk about a topic for some time here on the blog. I am sure it has happened to many working artists, but it doesn't make it any easier. This particular event took place in the middle of 2009 and includes work I did in 2008. Even though it happened over a decade ago, it is still a little sensitive to talk about, and I find it an important teachable moment. Today, I will be talking about what happens when your art is not used on a project and is replaced by another artist's work. To start things off, here is a selection of work that I have done for Dungeons & Dragons over the past eleven years.

Assorted illustrations for various Dungeons & Dragons Projects

Assorted sizes - Digital

I have been working in the tabletop gaming industry since 2005. You may have discovered my work in the various Star Wars projects I have worked on or through my Magic the Gathering cards. Those projects aside, you likely found my work in the many Dungeon & Dragons book, magazines, miniature games, and concept work that I produced. I have worked more on D&D than any other license in my career. I first began designing D&D miniatures in 2006, and that led to armor concepts, magazine illustrations, and eventually book interiors and concept pushes. I am really proud of my work on D&D, but it was not always a guarantee that I would be working on their projects or that I would even be working in gaming. Here is another selection of my favorite type of D&D work, isolated monster design and illustration.

Assorted illustrations for various Dungeons & Dragons Projects

Assorted sizes - Digital

In late 2008 there was a big shake-up at Wizards of the Coast, and many of the art directors that I had been working with left WotC, and ADs that I had never worked with, or even knew of, were filling the vacancies. The new art directors introduced themselves to the current stable of artists. I reached out and introduced myself as well and that I was eager to work with them on anything to do with the recently launched 4th Edition of D&D. Up until that time, I had only been doing miniature and concept design, save for one magazine illustration, and I was hoping that I could work on some book or even a Monster Manual. It so happened that they were gearing up on the Monster Manual 2, and I was included in the project. I was over the moon. I was finally working on THE project that got me excited about D&D and one of my many early monster inspirations. The Monster Manual was the beginning and end for me as far as gaming publications go, and it was finally becoming a reality. Here are the four illustrations that I had in the 4th Edition Monster Manual 2.

Ankheg, Gray Render, Ambush Vine, and Will-o-Wisp

4th Edition Monster Manual 2

Digital

I will be frank, these aren't great. I see many issues with them, but they were the best I could do in 2008. This is why I started with other examples of my work to better show my artistic journey. But for all the flaws, I got paid, the work got printed, and one of my dreams was fulfilled. But that is by far not the whole story, and this dream assignment becoming a reality also almost ended my career in gaming. While there were four pieces printed, I actually made SIX paintings for this book. Not only did two of my pieces not get used in the book, but they were redone by other artists, and my two pieces have since been erased from the D&D archives. While I will never know what exactly happened with the two unused pieces, I have been able to piece together some information over the years. Here is the first of the two missing pieces, the Yochlol.

Yochlol

4th Edition Monster Manual 2

Digital

These pieces have never been shown until now, and for many years, I could not even look at them. At one time, WotC would spoil all of the art in a new book at midnight the day of the book's release. The MM2 was one of these books. I eagerly awaited midnight in May of 2009, excited to finally see my monster illustrations alongside so many other artists that I looked up to. While I quickly found some of my work, I soon realized it was not all there, and in fact, two of them had been clearly replaced with new and better illustrations. I was beyond devastated. I was shaken to my core, and I instantly felt like I had irreparably destroyed my career. I thought I had failed WotC, D&D, my art director, and myself. I was not good enough even though I was in the book. I did not sleep that night. I had no idea how to move forward from this, and I felt like a complete failure. At that moment, I was ready to walk away from the industry because my skillset was obviously not where it needed to be, and I had no idea what to do. Giving up felt like the best and easiest option. Here is the second of the two missing pieces, the Chain and Bone Golems.

Chain and Bone Golems

4th Edition Monster Manual 2

Digital

As it should be evident to everyone, I did not give up, and I am still a working artist in the tabletop gaming industry. It took everything I had to pull myself through the coming days, weeks, and months after learning that my work was replaced. My confidence was destroyed, and I second-guessed myself on every project that I took on. I had to do a lot of soul searching, and I had to work with a lot of small companies as I worked things out. 2009 was the 'year I go serious' and, as I have mentioned here plenty of times, was the year that saved my career. In some ways, if I had not fallen as far and as hard as I did with the Monster Manual 2, I may not be where I am today. It took so many hours of hard work of making art and thinking and processing to get out of the funk I was in.

It would not be until mid-2010 until I received another D&D assignment. At that time, I was still rattled and nervous about working on a Dungeons & Dragons project again. I was also excited but terrified. I overthought the project too much, and it didn't go well. To be honest, I should have passed on the job since it focused on humans and not monsters. That is another lesson I learned that day. Finally, in 2011 I was in a good place with my work and with myself, and I began taking on many D&D projects, and I never looked back. It was easily two years before I could really work confidently again. I put the two missing paintings out of my head and I moved on.

It has been nearly a decade since I have looked at them, and to my eyes now, I am surprised how not horrible they are. Mind you, I see many issues and errors in them, and they are far from where they needed to be. The nice thing is that I now know what I need to do to rework them to make them much better. I know how to do better work and now understand what it takes to be better. Much of this comes from making mistakes. These are two mistakes. But I can do better now.

Over the years, I did try to find out what happened. I wanted to learn just how badly I messed up and what that meant for my career moving forward. When I approached the art director about these pieces several years later, she had no memory of them or any issues. At the time, I assumed she was being nice and didn't want to talk about it. Others at WotC that I spoke to had about the same to say. When I recently got permission to share these two unused pieces I had a nice chat about the industry's complexities with my current art director. She said there are many reasons why work does not get used or why things may get replaced. One reason is that a project changes scoop or direction, and work is no longer needed or something different is now required. The main reason for unused art, however, is that there is a quality or content issue. The artist doesn't hit the mark, or the piece ends up not being what is required. This is sometimes the artist's fault and sometimes is the production's responsibility. These changes also can come late in the creation of a project, and an art director may not know about them or have no idea why they are happening. In the end, it is often a mystery. While that gives some closure to all of this, there will never be a solid answer. Because they have been erased from the archives, I assume it was a quality issue, but I knew that from the beginning, and looking at them now confirms that. My takeaway is that I messed up, it was not permanent, and it required me to be better if I wanted to do this work again. We all have to work very hard to improve and be a better artist, and it sometimes hurts and can be a crushing experience. Have faith and never stop pushing forward.

As an added bonus I wanted to include the drawings that I produced for these two pieces. I still like the drawing more than the paintings, but as always, I love to draw more than I like to paint. These are currently still not available for sale, maybe one day.

Yochlol Drawings

4th Edition Monster Manual 2

Pencil on Paper

Chain and Bone Golems

4th Edition Monster Manual 2

Pencil on Paper

That's all for another exciting Monday on the blog. See you back here on Wednesday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Friday, April 16, 2021

Early Influences - Marie Severin: G.I. Joe 28

G.I. Joe issue 28 from October 1984

I shared several posts last year that focused on some of my early influences, and I felt it was time to do another post in this series. In October of 1984, I turned ten, and the issue of G.I. Joe that arrived in the mail was number 28. This issue immediately caught my eye. It looked and felt different than the previous twenty-seven issues. I put a lot of the difference, what made it feel so unique, and why all these years later, it remains my favorite issue of the original series at the feet of Marie Severin. In 1984 I had no idea who Marie Severin was and the length and breadth of her career. I only knew that I loved how the issue was drawn, and I could not stop pouring over each page. Before I go any further, I would be remiss in not mentioning the ink work of Andy Mushynsky and the writing of Larry Hama on this issue. For this post, though, I am focusing on Marie's drawing and visual storytelling. Starting with the cover, we see some Joes in mortal peril in their MOBAT as a Cobra Rattler lets loose a volley of missiles. How will there ever survive?! If the cover is any indication, then I must read this issue right away!

Upon opening the book, you are presented with a trio of Joes in a raft heading towards a large ship. I remember seeing this page for the first time and being excited to see my favorite Joe, Torpedo, but I was also drawn in by the sculptural rendering of the faces and water. It felt very different than what I was used to in a comic book. Also, check out that advertisement for Buckaroo Banzai. They don't make them like they used to.

If I remember correctly, by this age, I had a copy of How to Draw Comics the Marvel Way. I recall looking at these pages and thinking how they followed many of the rules I was desperately trying to learn. I love the first panel in the middle row on the right page, with Buzzer in the extreme foreground looking back at the viewer. There was something about it that made me realize that context in the rest of the panel could allow you to imply that other things were happening. The other characters were on swamp skiers, so it was implied that Buzzer was as well, and you didn't have to show it. At the time, this was mind-blowing to me. You didn't have to show everything to tell a story.

This page is great—a lot of action, humor, and onomatopoeia. We continue to see sculptural handling of faces that I was drawn to. We also see Chief and R.L. for the first time on this page, and they are so fun in this issue.

Again, we see an excellent combination of close-ups, bird's eye views, and everything in between to make the storytelling clear and exciting. It is also two pages full of Destro, the Baroness, Cobra Commander, and Firefly; how could you go wrong. I also love Firefly ripping the control panel off to review an arcade-like set of control.

I am not positive, but I feel somewhat sure that these robotic Cobra troopers were the prototypes for the eventual BATS that would join the ranks of the Cobra forces in a year or two. I thought the design of these robot troopers was a lot of fun, and I sometimes wish some of this look made it into the toys. While we are here, I find the design of the HISS tank to be one of my favorites in all of G.I. Joe, and I adored the toy version. Also, I was curious and looked it up. Westfield Comics is still around and selling comics, though they are now a little more than forty cents.

This spread is one of my favorites. The destruction of the robot troops is dramatic and gruesome. The second panel on the middle row of the right page is some of my favorite drawing in the whole issue. I find the shattering face of the far right trooper to be particularly fun. Lots of action compressed into a few panels.

We all love a good art history reference, and I was thankfully knowledgeable enough at ten to get the visual joke on the left page. More action, various compositions and angles, and yummy drawing fill the rest of the pages.

This is likely my second favorite page spread in the book, and it might eventually become my favorite. The Joes feel like they are in peril as they have a pitched battle with Destro. The bullets bouncing off Destro's faces thrilled me as a child, and I was amazed that his mask was so strong. Giving two panels for the Rattler to explode is also a decision that I adore. There is that moment after Destro ejects that the fighter is still flying also as the fire spreads and systems fail before it finally explodes in a massive ball of flames. I really feel a sense of time and anticipation in those few panels.

Lastly, we come to the final panel. Again, we see Buzzer in the extreme foreground, implying another motorcycle that he is riding. His placement adds depth to the panel and makes it less flat. The background as a child always confused me. It was not until later in life, when I observed streets at night with lots of lights and signs, that I understood how the sky goes solid black because of all artificial lights. You will not see stars on the street like that. Also, the Transformers are here!

Sadly, Marie Severin is no longer with us, and I will never be able to tell her how much this issue and her drawing style means to me. I, unfortunately, continue to seek out my early influences only to find that they are gone.

That's all for another exciting week on the blog. See you back here on Monday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Monday, April 12, 2021

Recent Grand Bazaar of Ethra VanDalia Bookplate Drawing

Remember when my book's Kickstarter began as a global pandemic decided upon us all just over a year ago? Yeah, those were fun times. Thanks to Jon Schindehette at ArtOrder, my book was published and released in the middle of the pandemic. That was only this past August, which feels closer to ten years ago. Out of the ashes of 2020, there are some things that I am really proud of, and The Grand Bazaar of Ethra VanDalia is one of them. I wanted to share with you another recent bookplate that I created for one of the 100 limited edition deluxe versions of my books. I had plans to draw all 100 in one go, but after the 55 required for the fulfillment of the Kickstarter, I needed a break, and I have been drawing as they sell. We are up to 65 (actually 66, I am keeping number 100) copies of the deluxe versions gone, and I may take the time soon to draw the remaining plates. That is a whole lot of talking to share a drawing, so here a recent Grand Bazaar bookplate.

Drawn, signed, stamped, labeled, and numbered!

Currently Available Grand Bazaar Originals and Books

That's all for another exciting Monday on the blog. See you back here next time! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Friday, April 9, 2021

Stop Me if You Have Heard This Before - The Return of the Arcona Rumor Monger

Okay, so a funny thing happened since last Friday when I shared what had to be the final instance of my Arcona Rumor Monger painting being reused in a Star Wars game product. Well, since last week, it came to my attention that the art was used once again for the Convincing Demeanor card, but this time in the Diplomat Agitator Specialization Deck from 2015. It may have taken six years for me to learn this, but better late than never. At this point, I am assuming that this art is in every single Star Wars product released by FFG. That is a joke for the folks in the back. It is great that the art has been so well recieved that it found a use in so many products. It is the painting that keeps giving and giving. Here is a look at the much-repeated incarnation of the Arcona Rumor Monger art as the Convincing Demeanor card.

Convincing Demeanor

Diplomat Agitator Specialization Deck

I wonder if I had known at the time of this pieces creation how often it would see print if I would have done anything differently. In all likelihood, I would have likely stressed over the piece and not enjoyed myself. That is the way of things.

If, for some reason, you are trying to complete your collection of my work in print, here is the cover of the Colonist Performer Specialization Deck so that you might purchase the correct one.

Diplomat Agitator Specialization Deck - For all your colonist performer needs

Lastly, here is the original illustration for the Arcona Rumor Monger. At this point, I am not sure that this will be the last time I will be sharing this one with you. Exactly how many times was this piece used?

Arcona Rumor Monger

Balance of the Force - Star Wars Card Game expansion

9.8 x 7.6 - Digital

That is all for another exciting week on the blog. See you back here on Monday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Monday, April 5, 2021

More Recent Artist Proof Drawings

Today I have for you a selection of recent artist proofs that I added drawings to their backs. If you are interested in getting any of these for yourself, just follow the links to my store. I have has a recent spike in artist proof sales, and some are actually getting close to selling out. Here is a selection of monster drawings.

The ever favorite Festering Mummy got a new angle in this one. I really enjoyed the profile and will need to do some more like this.

The Portent is coveted by all, and tentacled monsters seek it out often. My supply of Portent Artist Proofs is getting very low. Soon I feel they will be sold out.

The Coveted Peacock makes a dramatic entrance again.

The Shimmerwing Chimera takes flight.

Nylea's Forerunner is back again.

The Ravenous Leucrocota is desperate as always and will resort to insects to address his hunger.

Lastly, the Shifting Shadows lizard returns yet again, as it is a perennial favorite.

That's all for another exciting Monday on the blog. See you back here on Wednesday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com

Friday, April 2, 2021

Colonist Performer Specialization Deck - The Return of the Arcona Rumor Monger... Wait, WUT?!? AGAIN????

If you think you have seen this post before, in some ways, you have, and in some ways, you haven't. My Arcona Rumor Monger painting that I created for the Star Wars LCG is above and beyond the most reused image that I have ever created. At least to my knowledge. It has been on cards, in books, in decks, and likely more than I will ever know. Every time I think I have found them all, another one will surface. The specialization decks for the Star Wars RPGs are where they seem to be more common. This particular usage is from 2015. I have known about it since 2019, but I haven't had a chance to share it here yet. Of all the images I have made in my two decades plus career that this is the image that keeps getting reprinted is a bit funny to me. It is nearly a direct self-portrait and is the first of my Star Wars work that points in the direction that all the subsequent work followed. Here is a look at the much-repeated incarnation of the Arcona Rumor Monger art as the Convincing Demeanor card.

Convincing Demeanor

Colonist Performer Specialization Deck

If you look carefully, you can see the digital sketch of my giant map of The Grand Bazaar of Ethra VanDalia behind the card. You can also see my production checklist with all of the completed elements marked off in orange highlighter. The text is likely a section of my book that I was proofreading when I took these pictures of the card and the deck cover. A strange little slice of a moment in my life and the creation of my book is in the background of these images.

If, for some reason, you are trying to complete your collection of my work in print, here is the cover of the Colonist Performer Specialization Deck so that you might purchase the correct one.

Colonist Performer Specialization Deck - For all your colonist performer needs

Lastly, here is the original illustration for the Arcona Rumor Monger. I need to make the time to tell you about all of the Easter eggs that I have put into this image and many of my other Star Wars paintings. That will need to wait for another day.

Arcona Rumor Monger

Balance of the Force - Star Wars Card Game expansion

9.8 x 7.6 - Digital

That is all for another exciting week on the blog. See you back here on Monday! Until then...

For more samples of my work or to contact me regarding my availability, head over to my website: www.christopherburdett.com