I have always liked doing my own artwork for the books I write - it's all part of my creative process, visualizing and creating a first look that is true to the story inside and draws in the reader. Now I'm expanding, offering my services as an artist and consultant to my fellow writers. If you need a cover for a book or poster, contact me for an estimate of delivery times.
There are prices and plenty of samples below.
Full cover, including jpegs or PDFs of front/spine/back image, and front cover image for digital display:
Addition of business card or bookmark images:
Full color poster (digital image):
(50% discount available on posters if also commissioning a cover on the same theme.)
(Discounts are also available for multiple-cover commissions.)
The images on the left are of the full covers, front back and spine, laid out flat for viewing. The images at right are the front covers as they appear when faced out on a bookshelf, or when viewed online. Click on either one to see an enlarged image.
This cover (and the one that follows) uses my wonderful model Shannen. Because this is a series, it is important to think of future books, as well as the present endeavor. Using a model I know is one way to ensure this, getting a lot of extra pictures is another. On the first shoot, there were over 300 usable pictures. Another shoot is planned to include various poses with other weapons and other situations.
These two covers include over thirty layers each, with various degrees of transparency and color modification. The bottom of the back cover is left empty to allow for placement of bar coding.
The next two covers are also for a series, but they were designed without a particular model in mind. The use of a silhouette with the trademark dog collar and gun is enough to easily identify the main character, while leaving a world of possibility for the background.
In this first cover, I modified the sky to darken the background behind the title, while bringing a band of light through behind the lower face and neck area, further highlighting the collar. Likewise, the shimmer on the water is placed behind the gun to highlight it, while the placement of the gun itself is designed to be noticed after the identification of the character as a priest. This elicits shock as the unexpected juxtaposition of the priest and gunman are rolled into one.
The second cover in the series includes the easily-recognizable priest/gunman figure, but instead of the dark layer of weather over the bright lights of Miami, the playful, dynamic spatter of red is laid over pink to create a joyful, active impression. The fact that it is blood, however, is highlighted by the bleeding wrist of the dancing woman. Likewise, the activity and open posture of the dancer is juxtaposed with the dark, crouching figure of the priest. The final result should be pleasing to the eye - but a bit creepy to the heart.
The next two covers are for a Fantasy series based in a fictional world. The first cover is meant to appear in motion, but with a metallic heaviness. The blood spatter in over the castle on the back cover allows for a plain background over which a transparent "blurb" can be displayed, while still keeping it active and interesting. The background was colored to highlight both the armor of the figure on the front cover, and the sandstone battlements of the castle on the rear. The substantial length of the book allowed for a thicker lettering style on the spine, and also for the full publisher's stamp.
The second book in the series moves from the relatively developed feudal area around Crogmoor Castle, to the cold wilderness of the north. The colors are almost monochromatic, eliciting feelings of untracked, wild coastal areas, but the figure of the nude woman adds in contrasting warmth while maintaining the feeling of savagery or barbarism - not to mention sexual appeal. The bird is designed to appear present on the fringes of the physical and spiritual planes, reflective of the theme of a spiritual man meeting the realities of life in a physical world. The tones on the back of the cover are darker, dimming as they drift into the distance. This darkness allows the use of blue-white lettering for the "blurb" and other back cover information. Like the first novel, this one is long enough to allow for the bigger lettering and the full publisher's stamp on the spine.
In this series, tying in the visual themes of the covers is less important, with the focus rather on the mood of each reflecting the mood of the stories they contain.
The Blue Order required a balance between the mysteries of a more developed and sophisticated courtly life, and the rustic background of the migrants from Crogmoor. I conveyed the new and mysterious nature of Thorngraad by enshrouding the castle in mist, elevation, and distance, while highlighting the wonder and rustic nature of the newcomers in the person of the monk in the foreground. A palate approaching that of Rembrandt, but with a little more brightness, gives the book a soft feel. The back cover did not require a frame for the blurb as the bare sky and dark vegetation below do the job nicely. Because much of the action of the book takes place in the countryside around the castle, the unadorned landscape image suits it well.
If you would like to commission a cover or poster, we will have a free consultation by phone, followed by an initial draft which I will send to you at the agreed-upon time (or sooner). You will have an opportunity to comment upon the artwork, make requests for changes, etc at that time. I will then implement any requested changes and send a second version. At that point, minor changes may be requested. I will then implement them for a final draft and send it on to you in the requested formats.
75% of payment is due after the consultation call. The remaining 25% is due once the final draft is complete. Once payment has been made, the final drafts will be sent to you - at that point, you own them. I will include a letter giving copyright of the finished images to you.