September Q&A with Michael
A few weeks ago I prompted readers for questions they might pose to Michael if they had the opportunity. Here are a couple that prompted amazing responses from the artist himself.
Laura Lasley: I've always loved Michael's work, whether illustration or original. I'm curious if (other than Audrey, Alexa, Adrian or yourself) you imagine the people you paint in either format, if you use models or if you're inspired by faces you see when out and about. Thanks!
MRW: All of the above!
For figures in a painting below a certain size, I just invent them. But when clothing or a particular difficult lighting situation appears, I often find it helpful to pose myself or others to make sure I don’t make an obvious mistake.
When I’m reading a novel that I’ve been commissioned to illustrate, I form an image in my head of what a particular character looks like, and that guides me in my portrayal. Usually models for my illustration are posed so I can get the clothing right; the looks of the character rarely have anything to do with the person posing. Hell, I often pose myself, and I very rarely read a book where I really see myself as the character!
The model who posed for the figure in A MEMORY OF LIGHT had short black hair and didn’t look anything like Rand as I had pictured him.
In my non-commissioned work, it depends on the subject and what I’m aiming to say in the work. I’ve painted models as they are whenever they fit the intention. Generally speaking, however, they are there to represent all of humanity, so it doesn’t matter much who is portrayed as long as they appeal subjectively to the theme—and are fun to paint.
Once in a while I will come across a person who fits a particular vision I have for something I am working on. In that case I either awkwardly ask the person if they will pose for me [see RIVER] or I’ll try to memorize the qualities which distinguished that person and do a guide sketch for myself as soon as I can.
Sometimes I’ll take photos of the person. During my son’s NYU graduation ceremonies I spotted a man in the crowd who was a rather hip looking albino, so I took some photos of him on the sly. I thought he had an excellent facial structure that might work well in a future Elric painting!
It all depends. I’m sorry if it sounds like I’m ducking the question, but there are so many approaches that come into play depending on so many oblique factors that I can’t make a really definitive reply.
Eric Iverson: I particularly love the use of symbolism in Michael’s work. Some are obvious and others you really have to look for. My question is:
What is one of your personal favorite symbols in your work (a certain painting or one that reappears in many) that you love but people tend to miss?
MRW: Well, the ones that people tend to miss are mostly intentionally obscure because they have a private meaning for me—which I prefer to keep that way. That is often the “personal” part of a “personal work”, after all.
For all its simplicity, for example, EYE has multiple layers of personal relevance, meaningful only to me. Others can conjecture about it, but I know what it means to me, and that’s all I care about. If those meanings have driven the image to become something universal and evocative to others, that’s a pleasing and welcome benefit.
The Dactyloceras ammonite fossils appearing in my “Virtues” paintings are symbols of extinction, loss, diminishment. What is being said, then, is that it is my perception that the virtues represented are, alas, in short supply these days. [For some paintings, like PATIENCE for example, it is a personal acknowledgement, that is, self-criticism, a recognition that the virtue is not what I wish it could be in myself.]
Thanks Laura and Eric for those excellent questions.
If you have questions for Michael, feel free to reply directly to this email or simply leave a comment on any of our posts.
Weekly Art Recap
Fahrenheit 451 - cover for the Ray Bradbury classic to kick off banned book week
Window to the Sun - inspired by Oystermouth castle in Wales
Where the Evil Dwells - cover illustration for Clifford D. Simak
Arrival - an early digital experiment in the Passage to Sanctuary series
Empire of Grass - cover illustration for Tad Williams
Roland X - an iconic take on Stephen King’s gunslinger
Coming Soon…Leftovers & Palette Gremlins
The first Wednesday of the month means it’s time for a new L&PG. Same time as usual…11am EST on October 2nd. This will be the third painting in the 2024 gallery.
As always, there will be a special preview for paid subscribers leading up to that.
Thank you for answering my question and for the awesome model photos! I'm always curious as to how creative minds integrate and see the world; I have a few singer songwriter friends and author friends. I'm in awe of how you can leash or unleash your imagination to produce wondrous works of art. Appreciate a look behind the curtain!
So enjoy the added pleasure of your comments after decades of only seeing occ book covers and Whelan Walls