Micah Champion

Alongside my publishing work, I handle numerous private illustration commissions on an ongoing basis. These pieces range from custom character designs to detailed environment work. Whether it’s a spot illustration or a larger piece, my approach is always the same: drawing with traditional media. By sticking to analog craft and using pencil and ink, I give my clients authentic, 100% human-generated art with that classic, high-contrast mood. I then handle the color theory and final formatting in Clip Studio Paint so they get a polished, ready-to-print file.

I worked as an illustrator for Dynamic Measurement Group across 2012 and 2014. This required putting together a high volume of consistent, clear visual assets for their projects. It was a great exercise in reliable client delivery and visual storytelling. Even though the company is now closed , the experience really sharpened my process—putting in the hard work at the drafting table to create strong foundational line work with pen and ink, then using digital tools for the final polish and prep to meet tight deadlines.

I handled the book cover illustration for Chad Huskins’ Bloody Dixie, which was released in July 2021. Doing multiple covers for the same author really lets me dial in a consistent visual language. Like always, I started right at the drafting table with traditional India ink on board to lock in those heavy shadows and classic crosshatching. Keeping the work strictly on paper first means the art is 100% human-generated, dodging the AI copyright headaches for the publisher. Once the ink was dry, I took it into Photoshop for digital coloring and formatting to make sure the final piece was totally print-ready.