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.

I was the book cover illustrator for Chad Huskins’ Two Spies Reach Out from the Grave, which was published in August 2018. I built this cover right at the drafting table, relying on traditional India ink on Bristol board to establish the mood and lock in those stark graphic silhouettes. By keeping the foundational work strictly on paper, it guarantees the work is 100% human-generated, dodging the AI copyright headaches for the publisher. Once the crosshatching and heavy shadows were dialed in, I took the piece into post-production for final formatting to ensure the art was completely print-ready

I teamed up with Richard Perry as the comic artist for the Rabustatrons series, published through Markosia Comics from 2021 to 2022. Putting pages together for a full series required a ton of hard work in character and environment design. I leaned heavily into the craft of visual storytelling, focusing on stark graphic silhouettes on paper before using Clip Studio Paint to prep the final files for print.

I was the book cover illustrator for Josh Wood’s The Black Palace, published in March 2018. For this project, I focused on imaginative storytelling and building a solid composition right from the start. The entire piece was built on traditional craft—drawing with India ink on Bristol board to establish heavy shadows and extreme chiaroscuro lighting. Once the line work was locked in, I handled the color theory and formatting digitally to make sure the assets were completely print-ready.

From April to June of 2021, I worked as a freelance illustrator for Topps, putting ink on board for Marvel trading cards featuring Loki, The Shocker, and Iron Fist. When you’re handling established characters like these, dodging the AI copyright headaches is critical. I kept the foundational work strictly on paper at the drafting table, relying on traditional drawing and strong crosshatching before taking it into post-production for the final digital polish.

End-to-end commercial cover illustration and typographic design tailored for the Thriller and Horror publishing markets. The core illustration was rendered traditionally utilizing graphite and graphite dust to achieve an authentic, gritty texture. The piece was then digitally colored and tinted in Clip Studio Paint, integrating market-ready, highly legible digital typography designed to stand out on both the physical and digital shelf.

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