Sometimes the accidents work really well and I go, ‘Oh, I don’t have to change anything, or only tweak it a little and it’s done.’ “ I do a loose lay-in when I’m starting a painting and just knock in a bunch of the colors to get everything there, and I let the paint do accidental things because I just have to get it on the board. Manhounds of Antares (1981) was an early one that went really well. In my opinion, Richard’s cover for Manhounds of Antares was where he really began to come into his own as an artist.
#BARSOOM EARLY ILLUSTRATORS SERIES#
Richard would paint eleven more covers for the Akers/Prescot/Bulmer series over the next six years. The same year, Don gave Hescox his first job on Ken Bulmer’s “Dray Prescot” S&P series. And Masters of the Pit was technically the best of the three.” Lord of the Spiders I liked a lot more the technique wasn’t much better but just the concept, the image and the composition, graphically I thought was really good. “ City of the Beast is very much a cover I’m unhappy with, for the same reasons I’ve already mentioned. He gave me the books that were published as: City of the Beast, Masters of the Pit and Lord of the Spiders (all 1979).” So, he came over to my house, and we met and during the visit he offered me a series of three Michael Moorcock books. Then somewhere in the late ‘70s he was coming out to California for a convention and he called and said that he was going to be out here, so why don’t we meet? By this time my work had gotten much better. He was giving me a break and he was letting me learn my skills over a number of years by doing it. But looking back on it, I wasn’t that good yet. I didn’t get too many jobs from him, one or two a year here and there. I was living in Pasadena, California at that time. We’d spoken on the phone and dealt through the mail. “For the first couple of years I’d worked for, I had never met the man.
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