I'm amazed (and not a little intimidated) to be amongst some fantastic talents such as my friend Neil Roberts and am proud to be part of their push into the States. Look at this poster. There I am, tucked in near the top with the latest dinkybox header.

So, why do I need an agent, especially in this world where I can have a website that the whole world can see along with a presence on countless other artwork and networking sites? Well, I guess the easiest answer is for the sort of exposure and introductions to potential projects I would never normally get through just having this webpage. It, sort of, marks you out as being serious about what you do and, dare I say it, professional.  It also, hopefully, leaves me to get on with the artwork and doing the thing I'm (supposedly) good at. What I hope to do is mix that grown-up side with my own home-grow projects (a bit more on this later) so this is where the real hard work starts.

Look! That's Lisa Nichols' (SNES fans hearts swoon) writing at the bottom telling the scanning guys what size to prep the artwork to. This was before we all had Photoshop on our desktops and had to do that sort of stuff for ourselves. The artwork was done on acetate - animation cel-stylee - and was scanned in on a big drum.

Although I could have easily gone with Bakugan I plumped for the (slightly easier to draw) Galactus/Silver Surfer combo. He's been watching the recent(ish) cartoon (where they tried to channel the sprit of King Jack into the artwork) and really enjoyed them.

As my home printer is just a bit dusty and old (and under the desk where I dare not go) I dug around and found a few old Pantone Tria markers that must be at least 8 or 9 years old but, amazingly, still worked. So 1 piece of A4 bleedproof marker pad paper later...

Funny, ages ago, this was how I'd do cards for people but since the computer took over you end up doing everything on it. It's nice to get back to an actual bit of artwork. And Galactus always rocks.

So here's Neko, the Super Play subscription tiger. Each issue he'd be put in a more perilous predicament, doomed to a hideous fate unless enough people subscribed to the magazine and saved him. Well, until the next issue, that is.

I'd forgotten quite how labour intensive some of the Neko illos were. They were done (as I also did the covers in those days - '92-'94) on acetate with the linework on the front and painted on the back; animation cel-style. Often they would be just as complicated as the covers and boy, did I get through a lot of paints back then.

Now I've opened the Pandora's Box that is the Old Portfolio (TM) expect to see more horrors from the past. Just don't ask me to post anything from the Scorpion Man comic from 1980.