Salgood Sam's Blog, page 4

Night Breed Marvel Comics/Epic 1992/93

My First official WFH in mainstream Comics. I was hired on first to compleat an unfinished issue of Clive Barker’s Night Breed, #20 : Circle of Vengeance pt3. It was the fastest I ever drew I think, did 19 full size [11×17″] pages of art in 10 days.

Amazed me and impressed the editors who a month later asked if I’d like another. That was ‘THE ONE THAT GOT AWAY’ in Clive Barker’s Night Breed #23, a 32 page storey. This one also went fast and i’m still very pleased with a lot of the art i did on it.

These are partial sets, to give you a peek at the orriginals.

‘Circle of Vengeance pt3.’

Clive Barker’s Night Breed, #20

Art by Max Douglas, Scripted by Gregory Wright

Marvel Comics/Epic – 1992

19 pages of a 32 page Book

‘THE ONE THAT GOT AWAY’

Clive Barker’s Night Breed #23

Art by Max Douglas, Scripted by James Moore

Marvel Comics/Epic – 1993

32 page Book

 

Likenesses & Portraits

I enjoy drawing portraits! I’d like the opportunity to do yours or one of someone close to you.

It’s a exceptionally effective gift, my B&W ink portraits of your loved ones, make very affordable investments in future fally heirlooms! A quick sketch of yourself, a distinctive profile pic for social media!

Here’s a selection of portraits and likenesses I’ve drawn for both private and commercial clients in the past.

As a freelancer I take some pride in being pliable and diverse, rather than holding a very rigid style.

I enjoy adapting to the work and evolving, and exploring my own interests when I can.

Everything you see is me, contact me about rates anytime! Tell me what you need and I’ll let you know if I’m capable honestly.

Lifestyles & Love

I’ve done a fair bit of illustration work depicting lifestyle themes.

I’m good at generally appealing aesthetics and embedding narratives to help frame your ideas.

Here’s a selection of illustrations for past clients, focused on lifestyle and consumption themes.

As a freelancer I take some pride in being pliable and diverse, rather than holding a very rigid style.

I enjoy adapting to the work and evolving, and exploring my own interests when I can.

Everything you see is me, contact me about rates anytime! Tell me what you need and I’ll let you know if I’m capable honestly.

Science & Technology

I wanted to be a Scientist as a kid, art won the race but i still love science and technology. And drawing diagrams can be fun!

I think I bring a lot of strengths to this kind of work. It presents some challenges. Both in capturing the subject matter well and communicating with it’s clients. My personal fascination with STEM subjects and attention to detail I think suit the job well!

As a freelancer I take some pride in being pliable and diverse, rather than holding a very rigid style.

I enjoy adapting to the work and evolving, and exploring my own interests when I can.

Everything you see is me, contact me about rates anytime! Tell me what you need and I’ll let you know if I’m capable honestly.

Kids & YA Illustration

Cartooning and Illustration for children’s art, or work about children!

Small to midsize contracts and commissions in this genre is work I’d enjoy doing more of. I’m not looking to develop creator own ventures, just paid freelancing!

Here’s a selection of illustrations featuring work I’ve done for a variety of clients including Scholastic and Nelvana animation studies for children’s & YA oriented media.

As a freelancer I take some pride in being pliable and diverse, rather than holding a very rigid style.

I enjoy adapting to the work and evolving, and exploring my own interests when I can.

Everything you see is me, contact me about rates anytime! Tell me what you need and I’ll let you know if I’m capable honestly.

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Monsters, Mystery, & Mayhem.

A definite thematic thread in my work is this sort of stuff.

And honestly it’s a lot of fun! More!!

I’m always open to contracts and commissions in this vein. Chat me up.

Here’s a selection of illustrations featuring everything from Kaiju to zombies, lots of vampires, & werewolves. Along with the more subtly creepy and simply suspenseful.

As a freelancer I take some pride in being pliable and diverse, rather than holding a very rigid style.

I enjoy adapting to the work and evolving, and exploring my own interests when I can.

Everything you see is me, contact me about rates anytime! Tell me what you need and I’ll let you know if I’m capable honestly.

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Eek the Cat!

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My first job at Nelvana Animation Studios was to be honest, insanely easy and fun!

I drew backgrounds & props as a designer for Season 5 of Eek the Cat.

The job entailed drawing in a prescribed “child like fashion” which took me a few days to get into the swing of, and then enjoyed a great deal.

Not much more to say about it other than that. Here’s some of the work I did!

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Waynehead

I worked for part of the 1st season on Waynehead as a background & prop designer at Nelvana Animation Studios.

Had a fair bit of fun on this show, I did locations and props, clean ups of designs from another studio that were messy, and some background art for Key transition shots.

The Ally I drew on my first day on the job is in this clip, along with those still images in the interstitial. Many of these drawings were used for those.

Sam & Max the Freelance Police

In late 1996 at Nelvana on the referral of Goran Delic–the lead designer on the show–I was hired on from the design dept to ink backgrounds over simple liner layout art for the Sam & Max cartoon series run on Fox in 1997.

They wanted a very strong stylistic look to the art, so the work was all done using a Pentel Brush Pen and White Out. It was my first time doing a lot of inking with a brush, had to learn fast on the job but inside of a week I was getting consistent results to the satisfaction of the director. By the end of this job I was in love with inking with brushes.

This is what the layouts looked like when we got them…

…and this is what we were doing to them.

Not at all like the look of Steve Purcell’s original comic, this was a stylistic adventure on the part of the studio.

These B&W pages were then coloured digitally in the paint dept, and matched back with the animation. It was a demanding job. We had to do 5 or 6 of these a day on average as I recall.

Mangalatina

I was hired on to a small pre-production crew [three people including me and one other artist with no animation experience] to do all the initial Key location & prop designs for the show, it was a startup run by h2ventertainment.

Much of my work consisted of designing a neighbourhood around which the main action of the series was to happen. It was based loosely on a area in the middle of a Montreal neighbourhood. And I believe went into the episode called ‘Killer on the Loose’?

There’s not a lot to go on now online, but from what I can see here they used my art for backgrounds here and there.