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News from the Secret Laboratory:

As
Winter circles above like the buzzards in Ice Age II (which is to
say "with Busby-Berkeley style"), I've been at work onwork
on two separate projects of relative giganto-hugeness.
One's
a retro-futuristic epic; the other's a collection of Celtic knotwork
patterns for use in print or on, well, just about anything.
The
Celtic art book - part pattern book and part clip art collection
- has some features that I think make it unique, and I hope that
visitors to my clip art pages may enjoy it. The designs in the book
are all presented as repeating sections so that they can be used
to build out borders in whatever size you need, and all of the designs
have both straight and curved versions. Any of them can be used
either as rectangular borders or as rings.
Volume
1 is now available, after several intense and winter-confined months.
I'm really pleased with it and my hope is that you will be, too.
It's
available at my new Celtic
Art Books store - where I've also put together
some nice softbound blank books with border designs on all the pages.
A friend of mine describes this little bookstore as "Hellishly
Snazzy", which is a phrase I wish I'd made up myself. See what
you think!
The
other project ("Empire
State Patrol") is so large I have to avoid thinking
about how large it is, which I just now failed to do, and it'll
be ready, you know, when it's ready. When there's something solid
to show you it'll be appearing on its very own web site which already
looks pretty neat even if there are still gaping and important holes
in its content. You'll have to take my word on that; you can't see
it yet.



It's
all About Me:
I
always thought that I'd be a writer. It was a bit of a shock when,
sometime in the middle 1970's, I realized that I was spending all
my time making pictures. For the most part I've been doing that
ever since.
Back in those days there weren't a heck
of a lot of options for artists, so while I drew and painted and
even sold my paintings I also did advertising art and designs for
businesses, painted signs, did some illustration for publishers
and small music labels, and worked for awhile as a draftsman.
Computers started to get awfully interesting
in the late 1980s. I began to do freelance work for computer game
companies, founded one, foundered it, and moved on to making and
directing art at a series of game development houses. Several have
been shot out from under me.
I went through a long spell in which was
keenly interested in Celtic art - the sort of abstract decorative
design that we call "Celtic Knotwork" or "Celtic
Interlace". Both my grandmothers came from Irish-American families,
so that's my excuse.
But more recently I've been exploring what
I call "The Future That Never Was" - that is, it's all
about the future that folks who read too much Flash Gordon or Buck
Rogers thought they'd live to see; or maybe it's the future foreseen
by the 1939 New York Worlds Fair.
This seems to have started with my love
for the music of the 20's and 30's, but grew into an interest in
the Depression era, and from that, to the sort of better futures
that people in that terrible time hoped to see.
What touches me about those visions is
the universality of them. People hoped not so much for personal
prosperity, but rather for a world in which everyone would be better
off. A world where breadlines and apple sellers would be replaced
by hovercars and autogyros. At a time when 25% of America's population
was unemployed it just wasn't enough for any one person to do better
- the world needed to be remade.
Many of those bits of the future have been
invented and achieved, but we do seem to have missed out on that
aspect of universality. Not to mention the personal rocket ships,
which, personally, I'm still a little peeved about.
Lately I've taken a walk away from the games
business and I've settled down in a little harbor town in northeastern
Ohio.
My role model used to be Philip Marlowe,
but I've mellowed with age: now it's Doc from "Cannery Row".
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